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- Actor
- Soundtrack
In recalling silent movie comedian Harry "Snub" Pollard, his slight frame (5' 6"), bullet-shaped head and dark, droopy mustache are definitive identification badges. Born in Melbourne, Australia as Harold Fraser on November 9, 1889, he started off performing with the Pollard's Lilliputian Opera Company at an early age and was also a church choirboy. Adopting the last name of "Pollard" as his last name moniker in tribute to the company, he went on to perform with other Down Under children's troupes. When a vaudeville company he was touring with in 1910 made it to the United States, Harry decided to stay in the country.
Nicknamed (and billed) "Snub," he started off in bit parts at the Essenay Film Studios in 1911 and briefly worked with the Keystone Kops. Moving up into support roles, often with the Keystone Cops series, Hal Roach took an avid interest in him and, by 1915, had Snub co-starring with Harold Lloyd and Bebe Daniels in the highly successful Lonesome Luke series, which ran for years (86 films in all). In 1919, Snub took a chance and ventured on with his own solo one- and two-reeler's with zany slapstick, sights gags and gimmicks-a-plenty. He performed many of his own stunts and was often seriously injured as a result. Many of them were ably directed by Charley Chase and co-starred Marie Mosquini as his frequent leading lady. Snub's "second banana" status, however, was firmly entrenched, and his starring vehicles were met with only a modicum of interest. One of his most notable is the short comedy It's a Gift (1923) in which he played an eccentric inventor pursued by oil magnates interested in his newest creation.
In between Snub made personal appearances on the farcical stage. His production film company, created in 1926, was forced to fold and found himself relegated to supporting other top comedians again, notably Stan Laurel and Oliver Hardy and Andy Clyde. He was further financially strapped when the Depression hit. By the late 1930s, he was appearing in "poverty row" films. One last hurrah would be his playing of Pee Wee, the sidekick to cowboy Tex Ritter, in a series of minor westerns. Relegated now to atmospheric bits, it is noted that in the film Singin' in the Rain (1952), he is the rained-on passerby that Gene Kelly gives his umbrella to toward the end of the title song. Snub continued to work in relative obscurity until his death on January 19, 1962 of cancer. Earning a star on the Hollywood Walk of Fame for his work in silent films, the thrice-married actor was interred at Forest Lawn Memorial Park in the Hollywood Hills.- Actress
- Soundtrack
Sleek and striking Abby Dalton became a very familiar perky and sexy presence in 1960s TV households. Known not only for her award-worthy acting on TV comedy, she became an avid game-show panelist and appeared on a slew of TV's more popular programs. It might come as a surprise to some that she honed her wholesome sitcom personality only after apprenticing in Roger Corman cheap-jack cult movies -- sometimes as a juvenile delinquent. She was born Gladys Marlene Wasden on August 15, 1932 in Las Vegas, Nevada, and started working in the entertainment field as a teen magazine cover model, also appearing at times on record album jackets. An acting company member for writer/producer Roger Corman beginning in 1957, Abby made her dubious debut in the low-grade beatnik film, Rock All Night (1957), in which she and others are trapped and held hostage in a bar by a pair of killers. Corman continued to use her in his films, some with and some without billing, including Teenage Doll (1957), Carnival Rock (1957), Stakeout on Dope Street (1958), and the absurdly-titled The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), in which she played Desir, a stalwart leader of Nordic women in search for men, after presumably losing their own at sea. Outside the Corman fold, she appeared in the equally low-budgeted and exploitable Cole Younger, Gunfighter (1958) and Girls on the Loose (1958). The blonde, toothy beauty fared much better on TV starting in the late 1950s, popping up on several TV's best known westerns (Have Gun - Will Travel (1957), Rawhide (1959), Maverick (1957), The Rifleman (1958), Sugarfoot (1957)). She eventually earned a steady role on Jackie Cooper's Hennesey (1959) series and both actors received Emmy nominations for their roles -- she playing his girlfriend. The TV couple "married" just before the demise of the sitcom in 1962. A higher degree of visibility was achieved when Abby won the role of Joey Bishop's pert-looking wife on The Joey Bishop Show (1961). She gave birth to a TV baby in 1963 (played by her real-life infant son, Matthew David Smith). Her daughter, Kathleen Kinmont, also appeared on the program. Following the end of its four-season run, Abby engaged more fans to her corner by appearing regularly on the game show circuit. She showed off a delightfully off-the-cuff humor and sexy edge as a mainstay panelist, alongside Cliff Arquette, Wally Cox, and Rose Marie, on The Hollywood Squares (Daytime) (1965) and was located in the lower middle square for about four seasons before leaving her then-permanent post in 1970. During that time, she also played the "straight woman" in a number of sketch sequences for Jonathan Winters on his show, playing Margaret, his wife. The series, however, was rather short-lived (1967-1969). The only film she made during the 1960s was as "Calamity Jane" opposite Don Murray's Wild Bill Hickok and Guy Stockwell's Buffalo Bill Cody in a lackluster remake of the Gary Cooper starrer, The Plainsman (1966). For the most part, she focused on TV. Abby continued to be seen here and there throughout the 1970s. She might have enjoyed a major career boost as Hal Linden wife, Elizabeth, in the pilot of sitcom favorite Barney Miller (1975) had she stayed with it, but she was replaced by Barbara Barrie, when the show was picked up for its first season. Abby became part of the original cast of Falcon Crest (1981), a prime-time soap. As winery heiress Julia Cumson, Jane Wyman's daughter and Lorenzo Lamas' mother, she eventually shows her true colors as a murderous schemer. Coincidentally, Abby's daughter, actress Kathleen Kinmont, was later married for a time to "Falcon Crest" star Lorenzo Lamas. After leaving the show, she was seen only sporadically on TV and in films, including a short stint on a daytime soap. Her work continued until 1999, though she remained active in volunteer work. Twice married, her second to Jack Smith in 1960, produced three children, including daughter/actress Kathleen and son Matthew David. Her first marriage to Joe Mondragon ended in divorce in 1959.- Born on October 1, 1896, in Rangoon, Burma, to Burmese-Jewish parents, and the son of a well-to-do merchant, distinguished veteran character actor Abraham Isaac Sofaer was a one-time schoolteacher in both Rangoon and London. He switched gears to acting after a short time and made his stage debut in 1921 as a walk-on in William Shakespeare's "The Merchant of Venice."
Sofaer scored his first prominent London appearance with "The Green Goddess" in 1925 and, from the 1930s on, alternated between the London and Broadway repertory stages playing an assortment of Shakespearean roles (Othello, Lear, Cassius, etc.) among other classical plays. He scored a personal triumph in New York as Benjamin Disraeli opposite Helen Hayes in "Victoria Regina" in 1936. The following year, he directed Ms. Hayes in "The Merchant of Venice", in which he played the title role of "Shylock". A theatre repertory player of note, he soon focused on the big screen and made his British film debut with The Dreyfus Case (1930). Subsequent noteworthy British film roles included his judge in A Matter of Life and Death (1946) and as Disraeli in The Ghosts of Berkeley Square (1947). Recognized for his bulgy, wide-eyed stare, resonant tones and imposing stance, he built up a solid reputation over the years playing odd and interesting Eastern ethnics -- sultans, swamis, high priests, witch doctors, foreign dictators and dignitaries, he was even convincing playing Indian chiefs on occasion. His characters ranged from wise and warm-hearted to cunning and wickedly evil.
In the mid-1950s, Sofaer settled in Hollywood wherein he became a main staple in exotic dramas and costumed adventure, appearing almost exclusively in movies and TV. Some of his better known U.S. films include Quo Vadis (1951), His Majesty O'Keefe (1954), Elephant Walk (1954), Taras Bulba (1962) and Chisum (1970). Throughout the 1960s, he could be counted on for guest appearances on all the popular shows of the day including Perry Mason (1957), Wagon Train (1957), Gunsmoke (1955), Daniel Boone (1964) and Star Trek (1966). On TV, he may be best remembered for his recurring role of Haji, the master of all genies, on I Dream of Jeannie (1965).
Married to wife Angela for nearly seven decades and affectionately called "Abe" to closer friends, Sofaer was the father of six children. Retiring from acting in 1974, Sofaer died of congestive heart failure at the Motion Picture & Television Country House and Hospital in Woodland Hills, California at the age of 91 in 1988. - Actor
- Director
Burly Brooklyn-born tough guy Adam Roarke made an infamous name for himself in 1960s biker flicks, usually donning a black leather jacket and a mean, mean scowl, typically the head of a bunch of hell-raisers. Nine of his more than 30 films would be in motorcycle movies, sometimes at odds with young rebel Jack Nicholson before his 'Easy Rider' fame.
The former Richard Jordan Gerler was born on August 8, 1937, and destined to become some type of entertainer as his dad was a vaudeville comic and his mom a chorus girl. His parents met while performing in a Ziegfeld Follies show. He grew up rough and rebellious and was a former gang member surviving on the streets of New York. He eventually straightened up by enlisting in the Army. Following his military duty, he studied acting at the Beverly Hills Playhouse and eventually earned a Universal contract to boot, making his film debut (billed as Jordan Gerler) in the crimer 13 West Street (1962). Some of his early work includes a bit part in the film Ensign Pulver (1964) and parts on the TV shows Combat! (1962) and The Virginian (1962).
Adam played tough on TV in many of the "hip" 60's and 70's shows at the time such as Mod Squad (1968), the first pilot episode of Star Trek (1966) and The Man from U.N.C.L.E. (1964). His cult films include Hells Angels on Wheels (1967) with Nicholson, The Savage Seven (1968), Psych-Out (1968) again with Nicholson, Hell's Belles (1969) and Platinum Pussycat (1968). In addition, he appeared on horseback in John Wayne's western El Dorado (1966), and co-starred with Anthony Perkins in Play It As It Lays (1972), Peter Fonda in Dirty Mary Crazy Larry (1974), and Peter O'Toole in The Stunt Man (1980).
Parts grew scarce in the early 80s and Adam decided to focus his attentions on teaching. In 1982 he opened the Film Actor's Lab in Dallas, Texas and settled there. One of his prized students would be Lou Diamond Phillips of "La Bamba" fame. During this time he also acted in and co-directed the low-budget vengeance thriller Trespasses (1986) with Loren Bivens and co-written by former protégé Phillips. Adam's last film was a featured role in the low-budget film Sioux City (1994) directed by and starring Phillips.
Adam, 58, died suddenly of a heart attack in his sleep in the Dallas-Fort Worth suburb of Euless, Texas. A sturdy 60's 'leader of the pack' prototype was survived by second wife Carla Delane-Roarke who co-starred in the film Final Cut (1987) and actor/son Jordan Gerler.- Actor
- Music Department
- Producer
He may have made TV history as the first black game show host back in the 1970s, but the talents of singer/actor/musician Adam Wade extend far wider. Born Patrick Henry Wade, he grew up in Pittsburgh, Pennsylvania. In the late 1950s he served as a lab assistant for Dr. Jonas Salk, who invented the polio vaccine.
In 1959, he switched to performing and found in himself a smooth, gifted vocalist, his early influences being Johnny Mathis and Nat 'King' Cole. In 1960, he decided to make the journey to New York and pursue his dream. He signed with CoEd Records within a very short time and scored quickly with a string of mild successes including "Ruby" and "I Can't Help It." He also started traveling as a night-club entertainer playing all over the world and highlighting in such important venues as the Copacabana. The next year (1961) proved to be the peak of his recording success with "Take Good Care of Her," "Writing on the Wall" and "As If I Didn't Know" making the charts. Comparisons to Mathis at CoEd Records, however, damaged his momentum and he looked elsewhere, moving to Epic Records. Only one of his singles, "Crying in the Chapel," broke the "Top 100" charts.
In the late 1960s, he discovered voiceover work and started grooving as an actor. After appearing in the national tour of the musical "Hallelujah, Baby!" with Kim Weston and Julius LaRosa, the became a part of the film "blaxploitation" scene of the early 1970s. He bounced around in a few hip support roles such as Shaft (1971), Come Back Charleston Blue (1972), Across 110th Street (1972) and The Education of Sonny Carson (1974), among others. On television, he was seen in the soaps "The Guiding Light" and "Search for Tomorrow," and was a familiar presence on the popular black-oriented sitcoms of the day including "Sanford & Son", "The Jeffersons", "What's Happening", and "Good Times." The handsome actor became the first African-American to host a national television game show with Musical Chairs (1975). The resulting attention encouraged him to restart his recording career in a funkier vein on Kirshner Records in 1978 with songs including "Alexander's Soul Time Band".
He returned to acting and, in 1978, co-starred in an all-black cast of "Guys and Dolls" starring Leslie Uggams in Las Vegas. He also gave able support in such films as Texas Lightning (1981) and Kiss Me Goodbye (1982). An occasional stage director ("Cafe Society," "Guys and Dolls"), the gray-haired actor understudied Ben Vereen on Broadway in "I'm Not Rappaport" in 2002, and subsequently appeared in the movie Brother to Brother (2004). He took time out to go back to school (after forty years) and earned his BA and Master's degrees, at Lehman College and Brooklyn College, respectively. He was a speech and theater adjunct at LIU and Bloomfield College for some time and appears frequently on the L.A.-area stage.
Formerly married to Kay Wade, with whom he had three children, Adam remarried to entertainer Jeree Wade. They produced shows and performed together on cruise ships and in concert forums.- Actress
- Soundtrack
Fewer dames were tougher on the 40s and 50s screen than leggy (5'9") "B" star Adele Jergens, the tough-talking, plump-cheeked peroxide blonde who gave her fair share of tawdry trouble in backstage dramas, film noir, crime potboilers, and adventure yarns. She was just as headstrong at trying to bust out of the chorus lines and cheesecake parts to become a topnotch "A" actress draw. She failed in the latter but nevertheless left a respectable Hollywood legacy for the host of hard-as-nails babes that did leave an impression.
Born on November 26, 1917, in Brooklyn New York, the youngest of four to working class Norwegian parents, she was christened Adele Louisa Jurgens (some sources say Jurgenson) and started her youth as a sports-minded tomboy before setting her young teen sights on an entertainment career as a dancer. After years of study (she earned a scholarship) at a Manhattan dance studio and following her graduation from Grover Cleveland High School, the knockout-looking 18-year-old found her way into the Broadway chorus line (billed as Adele Jurgens, her real name) of the Moss Hart/Cole Porter musical "Jubilee!", which introduced the classic Porter songs "Begin the Beguine" and "Just One of Those Things" and starred Melville Cooper and Mary Boland as the King and Queen and a young Montgomery Clift as Prince Peter.
The John Robert Powers Agency saw in Adele top runway model potential and quickly signed up the gorgeous girl and her gams. She willingly played the starlet game by being squired around town by big Broadway stars and handsome male eligibles, and finding promotional titles to further attract pin-up attention -- "Miss World's Fairest" at the New York 1939 World's Fair, as well as "The Champagne Blonde" and "The Girl with the Million Dollar Legs". She was even dubbed "The Number One Showgirl in New York City" at one point. By this time she had revised the spelling of her last name for the stage (Jergens). In between modeling assignments, Adele found dance work in other in cabaret revues, nightclubs, in the Rockette chorus line, and in such Broadway shows as Cole Porter's "Leave It to Me!" (1938) again starring Gaxton and Moore and co-starring "My Heart Belongs to Daddy" singing star Mary Martin; Cole Porter's "DuBarry Was a Lady" (1939) with Ethel Merman belting out "Well, Did You Evah?" and "Friendship"; "Louisiana Purchase" (in a replacement role) (1940), "Banjo Eyes" (1941) starring Eddie Cantor and the burlesque revue "Star and Garter" (1942) in which Adele had a featured role while understudying one of its headliners, Gypsy Rose Lee. She went on for Ms. Lee, Hollywood took immediate notice with Twentieth Century-Fox signing her up.
Adele started at the bottom rung at Fox with the usual decorative showgirl or good time girl parts in the musicals Hello Frisco, Hello (1943), Sweet Rosie O'Grady (1943), The Gang's All Here (1943)and Pin Up Girl (1944). When Fox dropped her option she was snatched up by Columbia in a seven-year contract. After minor parts again in the musicals Dancing in Manhattan (1944), Tonight and Every Night (1945) and State Fair (1945), she was entrusted with the lead femme role as Princess Armina of Baghdad in the Eastern adventure A Thousand and One Nights (1945) with Phil Silvers and handsome Cornel Wilde as Aladdin. She also displayed a brusque comic flair as the aptly-named Allura in the Rosalind Russell comedy She Wouldn't Say Yes (1945) as an hilariously-accented blonde briefly competing for Russell's man Lee Bowman. She top-lined her own musical albeit the quickly forgotten When a Girl's Beautiful (1947) which co-starred Marc Platt and Stephen Dunne.
After a lull, the former WWII pin-up (once nick-named "The All-American Girl" by the men of the 504th parachute infantry) was now being billed by Columbia as "The Eyeful" and returned to the musical genre with the fantasy Down to Earth (1947). Rita Hayworth plays a heavenly muse who, disturbed by a Broadway musical below the clouds that is mocking Greek mythology. Turning mortal, she takes things in her own hands by turning mortal and (not easily) replacing the show's tough-talking original goddess Adele Jergens in order to manipulate the proceedings. Adele gets to tap and sing (dubbed by Kay Starr) before she is fired.
Outside of musicals, the hard-looking blonde (especially when her hair was let down), Adele started making headway in crime dramas and film noir starting with a nifty featured role as a glamour girl in The Corpse Came C.O.D. (1947). She followed that with hard-boiled roles in I Love Trouble (1948), The Dark Past (1948), Edge of Doom (1950), Armored Car Robbery (1950) and Side Street (1949). For the most part, however, it was the usual over-served hash that, while keeping her busy, also kept her locked in the "B" support ranks -- The Prince of Thieves (1948), Law of the Barbary Coast (1949), Slightly French (1949), Make Believe Ballroom (1949), Aaron Slick from Punkin Crick (1952), Somebody Loves Me (1952) -- when not leading in inconsequential material such as Ladies of the Chorus (1948) (as the mother of Marilyn's Monroe's character), The Mutineers (1949), The Woman from Tangier (1948), The Crime Doctor's Diary (1949) and the serial Radar Secret Service (1950).
Treasure of Monte Cristo (1949) was notable for the casting of Adele and future husband Glenn Langan. One might think that gorgeous Adele would end up a divorcée many times over, but she and Langan, who wed on October 6, 1951, stayed married until his death almost 40 years later. The 1950s, following good parts (Sugarfoot (1951)) but far more routine ones (Beware of Blondie (1950), The Traveling Saleswoman (1950), Blues Busters (1950)), Adele moved into TV work. After having son Tracy in 1953, Adele took a brief break from her career, then resumed it and found work on such programs as "Dangerous Assignment", "The Abbott & Costello Show", "Mr. and Mrs. North", "Make Room for Daddy", "The Public Defender", "I Married Joan", "My Favorite Husband", and "The Burns & Allen Show". Co-starring on film with husband Langan again in The Big Chase (1954), Jergens worked for a couple more years then left the business as the quality of her movies diminished with tawdry roles in Fireman Save My Child (1954), The Miami Story (1954), The Lonesome Trail (1955), Girls in Prison (1956) and Runaway Daughters (1956). She never returned but husband continued his career until the early 1970s; he also dabbled in real estate.
Glenn Langan died of cancer in 1991 and their only child, 48-year-old Tracy, who had become a film technician, died in 2001 of a brain tumor, which devastated the actress. Her health declined quickly after her son's death; she died the following year of pneumonia on November 22, 2002, just days before her 85th birthday.- Actress
- Soundtrack
She was born Adelaide Delgado on August 28, 1923 (some references list 1925) to Spanish-speaking parents. The future Adela Mara began dances lesson at age 6 and was discovered as a young teenager by the legendary Xavier Cugat. Singing and dancing with his in the Detroit area, Cugat took the beautiful, brown-eyed brunette to New York where she performed in his shows at such esteemed clubs as the Copacabana.
While touring as a singer/dancer, she was spotted in Florida by a Columbia talent scout and signed to a Hollywood contract in 1942 at age 19. Starting off in bit exotic roles in such films as Honolulu Lu (1941), she quickly grew to alluring co-starring status opposite top banana Glynis Ahearn in Shut My Big Mouth (1942). There continued playing brisk leading ladies in a series of standard, uneventful "B" films including Vengeance of the West (1942) with Tex Ritter and Alias Boston Blackie (1942) starring Chester Morris.
A couple of years later she was transformed into a sexy platinum blonde pin-up after signing with Republic Studios and kept herself quite busy predominantly cast as senorita-types opposite cowboy stars Roy Rogers in Bells of Rosarita (1945) and Gene Autry in Twilight on the Rio Grande (1947). She was also fetching fodder in crime dramas including Blackmail (1947) and Web of Danger (1947) and a pleasant diversion in adventure pictures such as Wake of the Red Witch (1948) with John Wayne and The Avengers (1950).
Arguably Adele's best parts would come with Angel in Exile (1948) and Sands of Iwo Jima (1949), the latter again starring Duke Wayne. Seldom was she given the chance to capitalize on her acting talents, however, and her film career waned in the mid 1950s. Her last screen appearance would be in The Big Circus (1959) with Victor Mature. Adele subsequently moved into TV and was featured in a number of guest spots, primarily in westerns. She eventually abandoned her career and settled down to raise her three sons from her 1952 marriage to TV mogul Roy Huggins who produced many hit shows including 77 Sunset Strip (1958) and Maverick (1957). On a rare occasion, she would appear as a guest in one of his efforts, including an episode of the TV series Cool Million (1972).
Huggins died in 2002 and Adele passed away eight years later of natural causes in Los Angeles on May 7, 2010. The 87-year-old actress was interred at San Fernando Mission Cemetery.- Actor
- Producer
- Soundtrack
The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).
Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).
The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).
The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.
Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional.- Actor
- Soundtrack
Before there was an Alan Ladd, there was another furtive-eyed, baby-faced, cigarette-dangling Alan, impacting the movie scene with his various colorless and cold-hearted thugs, mobsters and killers. Dark-haired, bullet-headed actor Alan Baxter earned a noticeable degree of popularity back in the late 1930s and 1940s with his various despicable characters, before his film career lost steam and he sought more and more TV and stage work.
The son of a Cleveland Trust Company vice president, Baxter was born on November 19, 1908, in East Cleveland. Following high school, he studied drama at Williams College in Williamstown, Massachusetts, where he forged a strong friendship with fellow collegiate and future directing icon, Elia Kazan. Once they graduated in 1930, the duo attended Yale's School of Drama.
Baxter hooked up with the then-fledgling Group Theatre in the early 1930s and appeared in such stage productions as "Lone Valley", "The Pure in Heart" and "Waiting for Lefty". His performance in "Black Pit" in 1935, however, was witnessed by a Hollywood talent scout and it was enough to change the course of his career. Immediately heading west to Hollywood, Baxter made an auspicious debut with his strong performance as "Babe Wilson", the unfeeling killer loved by Sylvia Sidney's character in Mary Burns, Fugitive (1935). Three years later, Baxter went on to recreate the role on radio.
With his foot strongly in the Paramount door, he continued playing dangerous, unsavory types in 13 Hours by Air (1936), Big Brown Eyes (1936) and The Case Against Mrs. Ames (1936), until his contract ran out. Continuing to freelance throughout the remainder of the 1930s, he remained on the wrong side of the law in Parole! (1936), Breezing Home (1937), Night Key (1937), Wide Open Faces (1938), Off the Record (1939), My Son Is a Criminal (1939), and Each Dawn I Die (1939).
A solid "B" lead player who appeared in support when it came to "A" pictures, Baxter occasionally broke out of the "bad guy" mold -- but not often. By this time, Alan Ladd was starting to cut in on Baxter's action with his moody and sexy versions of trench-coat-trendy villains. Baxter, nevertheless, continued to roll on, playing outlaw "Jesse James" in Bad Men of Missouri (1941) opposite Dennis Morgan, Wayne Morris, and Arthur Kennedy as the Younger brothers, while adding slick malevolence to such films as Escape to Glory (1940) (with Constance Bennett), Under Age (1941) (with Nan Grey and Mary Anderson), The Pittsburgh Kid (1941) (with Jean Parker), and Rags to Riches (1941) (with Mary Carlisle). This period of filming was topped by an excellent support role in the classic Alfred Hitchcock thriller, Saboteur (1942), in which he, as the meek-voiced, mustachioed, bespectacled, peroxide blond Nazi spy "Freeman", shares a memorable scene with lead Robert Cummings.
Following standard work in China Girl (1942) and Behind Prison Walls (1943), Baxter (at age 35) signed up for the Army Air Force in 1943, and appeared in the Broadway production of Moss Hart's "Winged Victory", which later was turned into the 1944 movie version of the same name, Winged Victory (1944) (also featuring Baxter). Post-war filming grew more dismal with a high majority of "Poverty Row" pictures coming Baxter's way. His last appearance in a strong film was the Robert Ryan boxing pic, The Set-Up (1949), as a mobster involved in fixing matches. Alan decided to return to the challenge of the stage, appearing in such plays as "Home of the Brave" (1945), "The Voice of the Turtle" (1947), "The Hallams" (1948), "Jenny Kissed Me" (1948), "Tea and Sympathy" (1955), and "South Pacific" (1957) (in a non-singing role). TV also became a positive medium, with adventure guest roles on The Rifleman (1958), Wagon Train (1957), Colt .45 (1957) and Alfred Hitchcock Presents (1955), among the offerings.
By the 1960s, Baxter was seen primarily in incidental film roles, his last being the cult rodent thriller, Willard (1971). Diagnosed with cancer, the twice-married actor died a few years later at the Motion Picture Country Home in Woodland Hills, Los Angeles, on May 8, 1976, aged 67.- Actor
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Character player Alan Reed was a strong, gruff, burly presence on '40s and '50s film and TV but he would be best remembered for his equally strong, gruff, distinctive voice on radio and TV. In 1960, he gave vocal life to the bombastic prehistoric cartoon character Fred Flintstone on the prime-time TV series The Flintstones (1960), the character being inspired by the Ralph Cramden husband on the popular earlier sitcom The Honeymooners (1955). It is this direct association that continues to keep his name alive today. Reed himself thought up and introduced the Flintstonian catchphrase "Yabba dabba doo!" (improvised from a script calling for Fred to say "Yahoo!") for his beloved animated character to the delight of children everywhere.
Born Herbert Theodore Bergman on August 20, 1907 in New York City, to Jewish parents of Lithuanian/Ukrainian descent, he received his early education at Washington High School and studied theatre at the American Academy of Dramatic Arts. After majoring in journalism at Columbia University, he decided to pursue to acting at such places as Provincetown Playhouse and toured in vaudeville shows. He supplemented his income operating a candy factory and worked as a social director at a country club.
A master of over 22 foreign dialects, Reed also worked steadily on Broadway with the Theatre Guild. His vocal talents were well suited for radio, becoming a prime announcer for that medium. In addition to billing himself as Teddy Bergman, he sometimes was credited under the moniker Alan Reed for more dramatic parts, eventually settling in on the Reed name. Reed was featured on the best radio shows of the time including "The Shadow," "Crime Doctor," "Abie's Irish Rose," "The Life of Riley," "The Fred Allen Show," "Life with Luigi" (which he later took to TV), and "My Friend Irma."
Once in Hollywood, Reed deserted the Bergman name completely. Sporting a comic Runyonesque appeal, he played in such fare as The Redhead and the Cowboy (1951), Emergency Wedding (1950), and Here Comes the Groom (1951). His more dramatic roles came with The Postman Always Rings Twice (1946) and The Desperate Hours (1955). One of his most unusual parts was his portrayal of Pancho Villa in Viva Zapata! (1952) starring Marlon Brando. He also supplied the voice of "Boris" in Disney's Lady and the Tramp (1955). Featured in many TV shows, the popular prehistoric cartoon and its various offshoots made up most of Reed's later work after The Flintstones (1960) premiered.
Long married to a former Broadway actress, Finette Walker, one of their three children, actor/producer Toby Reed, entered show business as a teenager. Reed started billing himself as Alan Reed, Sr. to avoid any confusion. Working up until his death, Reed died in Los Angeles from heart disease and emphysema at age 69 on June 14, 1977. Reed's incomplete autobiography was extensively used to publish his son's own biographical tribute: Yabba Dabba Doo: The Alan Reed Story.- Actor
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One of Italy's most captivating and talented cinematic comedy stars, Italian veteran Alberto Sordi was known for satirizing his country's social mores in pungent black comedies, farcical tales and grim drama. He, along with peers Vittorio Gassman, Ugo Tognazzi and Nino Manfredi, arguably represent the finest of post-war Italian cinema history. Born in Rome on June 15, 1920 in the Trastevere district, Sordi grew up in a musical family, his father being a tuba player for the Rome Opera House. A choir boy at the Sistine Chapel, he later trained for the theater in Milan but returned to Rome to work in radio and musical halls in comedy shows. In the late 30s he found his way into film as an extra. His first important role was in The Three Pilots (1942), a fascist war picture, but he wouldn't hit international stardom until a decade later when he starred in Federico Fellini's early films The White Sheik (1952) and I Vitelloni (1953). The titles of some of his most prolific characters were as simple as their titles: The Seducer, The Bachelor, The Husband, The Widower, The Traffic Cop, and The Moralist. Most of his protagonists amusingly, but not always pleasantly, stereotyped the worst attributes of Italian men and society, yet many of his films are unparalleled in quality and considered masterpieces. Sordi went on to star, direct and co-write more than 150 films. Never married and rather an introvert, he enjoyed a quiet, reclusive personal life. On his 80th birthday, he was made Mayor of Rome for the day. In 2002, after 190 films, he announced his retirement, and died of a heart attack the following year at age 82.- Actor
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Beloved, hugely popular Italian comic character actor/writer/director, in music halls and variety shows for much of his early career. Fabrizi entered films in 1942 and often wrote and directed his vehicles, winning international acclaim in the Roberto Rossellini's neorealist drama Rome, Open City (1945), in which he played a priest who bravely defies the fascist regime. Heavy in heart and girth, he performed primarily in Neopolitan films for over four decades. Such notable post-war films include To Live in Peace (1946), Professor My Son (1946), Flesh Will Surrender (1947), Escape Into Dreams (1948), Immigrants (1949), Cops and Robbers (1951), Five Paupers in an Automobile 1952), Of Life and Love (1954) and The Teacher and the Miracle (1957), all co-written by Fabrizi. A master of the double take, he adapted equally well to comedy and drama, but did not earn much recognition in America. He devoted much of his time in later years to the culinary arts, writing several cookbooks and related poetry. He died of a heart ailment in his 85th year.- Born Alexander Viespi, Jr. in Floral Park, New York in 1933, handsome, often mustachioed Alex Cord was stricken with polio at the age of 12. Confined to a hospital and iron lung for a long time, he overcame the illness after being sent to a Wyoming ranch for therapy. He soon regained his dream and determination of becoming a jockey or professional horseman.
A high school dropout at the age of sixteen, he grew up to be too tall to be a jockey so he joined the rodeo circuit and earned a living riding bulls and bareback horses. During another extended hospital stay, this time suffering major injuries after being thrown by a bull at a rodeo in New York City's Madison Square Garden, he reevaluated his life's direction and decided to finish his high school education by way of night school. A voracious reader during his long convalescence, he later studied and received his degree in literature at New York University.
Prodded by an interest in acting, Alex received dramatic training at the Actors Studio and began his professional career in summer stock (The Compass Players in St. Louis, Missouri) and at the American Shakespeare Festival in Stratford, Connecticut where he played "Laertes" in a production of "Hamlet". A British producer saw his promise and invited him to London where he co-starred in four plays ("Play With a Tiger", "The Rose Tattoo", "A Midsummer Night's Dream" and "The Umbrella"). He was nominated for the "Best Actor Award" by the London Critics' Circle for the first-mentioned play.
He sought a Hollywood "in" and found one via his equestrian skills in the early 1960s. Steady work came to him on such established western TV series as Laramie (1959) and Branded (1965) and that extended itself into acting roles on crime action series (Route 66 (1960) and Naked City (1958)). Gaining a foothold in feature films within a relatively short time, he starred or co-starred in more than 30 feature films, including Get Off My Back (1965), Stagecoach (1966), Stiletto (1969) and The Brotherhood (1968).
After his film career declined in the late 1970s he turned to action adventure overseas with the "spaghetti western" A Minute to Pray, a Second to Die (1967) [A Minute to Pray, A Second to Die] and the British war drama The Last Grenade (1970) with Stanley Baker and Richard Attenborough. Around that time as well, he played the murderer opposite Sam Jaffe's old man in Edgar Allan Poe's dramatic short, The Tell-Tale Heart (1971). It was TV, however, that provided more career stability. Cord has more than 300 credits, including roles in Hotel (1983), Fantasy Island (1977), Simon & Simon (1981), Jake and the Fatman (1987), Mission: Impossible (1966), Walker, Texas Ranger (1993) and Murder, She Wrote (1984). He situated himself in a number of series, notably Airwolf (1984), in which he co-starred with Jan-Michael Vincent and Ernest Borgnine as the mysterious white-suited, eye-patched, cane-using "Michael Archangel".
Later commercial interest was drawn from his title role in Grayeagle (1977), a remake of the John Wayne film, The Searchers (1956), in which he played the Indian kidnapper of Ben Johnson's daughter. Lana Wood, sister of star Natalie Wood (who appeared in the original), also co-starred in this film. Alex can still be seen from time to time in low-budget films and the occasional television appearance, but other interests took up his time. His last film role was in the dismissible thriller Fire from Below (2009) in support of Kevin Sorbo.
Alex's love for horses extended itself into work for numerous charities and benefits. He was a regular competitor in the Ben Johnson Pro-Celebrity Rodeos that raised money for children's charities, and he is one of the founders of the Chukkers for Charity Celebrity Polo Team which has raised more than $3 million for worthy causes. He chairs "Ahead with Horses", an organization that provides therapeutic riding programs for the physically and emotionally challenged. Alex also turned to writing, thus far publishing several novels including A Feather in the Rain (2005), Days of the Harbinger (2013), The Man Who Would Be God (2014 and High Moon (2016). He has also sold three screenplays.
The actor's three marriages all ended in divorce. His second wife was British-born actress Joanna Pettet and third, Susannah, was a horse trainer. He had three children -- Toni Aluisa, Wayne and Damien Zachary. His son by Pettet, Damien, died tragically in 1995 of a heroin overdose at the age of 26. - Actor
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A regular "good guy" and "bad guy" presence in sagebrush sagas and two-fisted film action during the early 1950s, brawny, blond-haired Alexander Livingston Nicol Jr. was born in 1916 in Ossining, New York, the son of a prison warden there at Sing Sing, and his wife, the matron of a detention center. Alex developed an early interest in acting and originally trained at the Fagin School of Dramatic Art.
On the professional stage from 1938, he soon found work as an apprentice to Maurice Evans. As part of the ensemble in his highly-regarded Shakespearean production company, he appeared on stage with the great actor in "Henry IV, Part I" (1939) and "Richard II" (1940) on Broadway. Following a stage role in "Return Engagement," his newly-found career was interrupted by World War II. Following his five-year stretch as a Tech Sergeant with the National Guard and Cavalry Unit, he became a student and eventual charter member of Lee Strasberg's Actors Studio. He also returned to Broadway in such shows as "Sundown Beach" and "South Pacific" (in the ensemble as a Marine). Other post-war stage plays included "Waiting for Lefty," "Forward the Heart" and "Mister Roberts," in which he took over Ralph Meeker's role (as the sailor Minnion) and served as understudy to Henry Fonda. The pinnacle of his Broadway career occurred when he replaced Ben Gazzara and received excellent reviews as Brick in "Cat on a Hot Tin Roof" in 1956.
Alex's film career was launched when he was discovered by Universal-International director George Sherman, who cast him in a prime role in his film mystery The Sleeping City (1950) starring Richard Conte and Coleen Gray. He next appeared in Tomahawk (1951), the first of his many oaters, which starred Yvonne De Carlo, Van Heflin and an up-and-coming Rock Hudson. Continuing in the same vein throughout the early 1950s as both support player and occasional lead, he played an assortment of decent, law-abiding sheriffs and simpering, murdering gunslingers in such westerns as The Redhead from Wyoming (1953), his first co-starring role opposite Maureen O'Hara, The Lone Hand (1953), Law and Order (1953), Dawn at Socorro (1954), and his best film, The Man from Laramie (1955) in which he memorably menaced James Stewart. Outside the western genre he rolled out such outdoor/war pictures as Target Unknown (1951), Air Cadet (1951), Red Ball Express (1952) and Strategic Air Command (1955), the last mentioned also starring Stewart. He also top-lined a few British-made pictures during this 1950s time period.
Television also brought Alex work with a number of appearances in such popular shows as "The Twilight Zone," "Dr. Kildare" and "The Outer Limits," among others. Unable to break free of his rugged secondary typecast, he also tried his hand at directing, his first being the semi-cult horror film The Screaming Skull (1958) in which he was a secondary character in a cast of five. He found more prolific directing offers on TV, notably the "Tarzan" series starring Ron Ely throughout the 1960s.
In 1959, after receiving a major part in the Italian/Yugoslavian picture 5 Branded Women (1960), Alex and his family transported themselves to Rome for a couple of years where he continued to film. Although they returned to the US in 1961, he would often show up in a European-made "spaghetti western" or two during the early 1960s. He appeared sporadically on TV and film into the next decade, his last feature being the extremely low-budget giant monster flick Ape (1976), about a 36 foot gorilla that terrorizes Korea, a film he agreed to do for his friend Paul Leder. Alex retired fully in 1987 and died in Montecito, California in 2001 at the age of 85, survived by long-time wife (since 1948), former actress Jean Fleming, and their three children (two sons and a daughter).- Tough, gruff, thick-browed, volatile-looking character actor Alex Rocco was born Alessandro Federico Petricone, Jr. on February 29, 1936, to Italian immigrants in Cambridge, Mass. He grew up a member of Boston's Winter Hill gang (his nickname was "Bobo") and was briefly detained regarding a murder at one point after an alleged personal incident triggered the Boston Irish Gang War (1961-1967). Rocco decided to straighten his life and relocated to Hollywood in 1962 following his detainment and release.
Developing an interest in acting, Alex initially trained with such notable teachers as Leonard Nimoy and Jeff Corey in order to curb his thick Boston accent. Working as a bartender during the lean years, his film and TV career finally kick-started in 1965, immediately relying on his sly, lethal menace, toothy toughness, and prior gangland past to realistically portray gritty anti-heroes and villains. He made an effective movie debut, co-starring as a vengeful veterinarian and Vietnam vet who goes after motorcycle "bad boys" following his wife's beating and rape in the exploitation flick Motorpsycho! (1965) directed by Russ Meyer. Despite this bold beginning, it was followed by a disappointing gangster bit in The St. Valentine's Day Massacre (1967) and a nothing role as a police Lieutenant in The Boston Strangler (1968). On TV, he found sporadic work playing thugs and other unsavory types on such TV shows as "Run for Your Life," "Batman" and "Get Smart."
Rocco came into his own in the early 1970s. After featured roles in such violent exploitation like Blood Mania (1970) and Brute Corps (1971), he received a huge boost in an Oscar-winning "A" film. He made a brief but potent impact essaying the role of Las Vegas syndicate boss Moe Green who gets a bullet in the eye during the violently explosive "christening sequence" of Mario Puzo's The Godfather (1972). From there he found a comfortable supporting niche playing various swarthy-looking cronies, hoods and cops in such crime films as The Outside Man (1972), Slither (1973), The Friends of Eddie Coyle (1973) (in which he made good use of his Boston criminal past), Freebie and the Bean (1974), Three the Hard Way (1974) and A Woman for All Men (1975). Similar urban roles followed him on TV with yeoman work on such 1970s cop shows as "The Rookies", "Get Christie Love", "Kojak", "Cannon", "The Blue Knight", "Police Story", "The Rockford Files", "Barnaby Jones", "Dog and Cat", "Baretta", "Starsky and Hutch", "Delvecchio", "CHiPs", "Matt Houston", "Hardcastle and McCormick", and "Simon & Simon", along with the TV movies or miniseries A Question of Guilt (1978), The Gangster Chronicles (1981) and Badge of the Assassin (1985).
In the midst of all this, Alex was handed the starring role of his own series Three for the Road (1975) in which he played a new widower photographer with two teenage sons (played by Vincent Van Patten and Leif Garrett) who assuage their grief by leaving town and "discovering America" together. Although well-received, it was short-lived (13 episodes) as a result of poor scheduling. The actor returned to series TV in the late 1980s and was much more successful as a slick Hollywood agent in The Famous Teddy Z (1989) for which he won a "Supporting Actor" Emmy Award. Other regular comedy series work, such as Sibs (1991), The George Carlin Show (1994), The Division (2001) and Magic City (2012), added to his healthy resume over the years, with over 400 TV appearances racked up in all. Recurring roles on such programs as The Simpsons (1989) and The Facts of Life (1979) (as Nancy McKeon's father) also kept his career going at a steady pace. Other memorably flashy film roles include Freebie and the Bean (1974), The Stunt Man (1980), Lady in White (1988), Get Shorty (1995) and Just Write (1997).
Twice married, Rocco's first wife, Sandra Garrett, a nightclub performer and screenwriter, died of cancer in 2002. He married actress Shannon Wilcox in 2005 and together they appeared in the film Scammerhead (2014). Rocco appeared in two films helmed by his adopted son, screenwriter and director Marc Rocco: Scenes from the Goldmine (1987) and Dream a Little Dream (1989), who died in 2009. Two other children by his first wife were Lucian, a poet, and Jennifer, an attorney. Alex Rocco died of pancreatic cancer on July 18, 2015 at age 79. - The possessor of one of stage, screen, radio, TV and audio cassette's most distinguished vocal instruments, actor Alexander Scourby received his training via Shakespearean roles in the 1930s and perfected his vocal versatility on dramatic radio serials in the 1940's.
The noted actor/narrator was born in Brooklyn, New York on November 13, 1913 to Greek immigrants and attended public and private schools in Brooklyn. Father Constantine was a restaurateur and baker Interested in writing, he was a co-editor of his high school magazine and yearbook and studied journalism briefly at University of West Virginia at Morgantown. A passion for acting was sparked after joining a campus theater group. He apprenticed at Eva Le Gallienne's Civic Repertory Theatre and made his professional debut in a walk-on in "Liliom.".
"Hamlet" would become a favorite Shakespearean play for Scourby. His very first role on Broadway was as the Player King in a 1936 production starring Leslie Howard and went on to play the same role for Eva Le Gallienne's company later that year. He then played Rosencrantz in Maurice Evans' presentation and went on to appear with Evans in "Henry IV, Part I" and "Richard II" (borth 1940). He played Claudius in still another production (Phoenix) in 1961. Other Broadway plays would include post-WWII presentations of "A Flag Is Born", "Crime and Punishment", "Detective Story", "Darkness at Noon", "Saint Joan" with Uta Hagen, "A Month in the County," "Tovarich" with Vivien Leigh, in which he ably displayed a flair for urbane villainy, and "Old World." He played also played the title role in "Galileo," performed as John Knox in "Vivat! Vivat Regina!" and played Walt Whitman in "A Whitman Portrait."
Scourby first began to develop his speaking prowess in 1937 when he started narrating for the American Foundation for the Blind's Talking Book program. He would wind up recording nearly 500 books for the blind, and, for his long-term contribution, receive the Certificate of Merit from the foundation. His deep, crisp tones suited him well as he moved into radio in 1939. By the early 1940's, he was playing running parts in five of the serial dramas. Included was the voice of Superman's father on that popular radio show.
Scourby made a dashing villainous entry into films rather late in his career (age 39). He received third billing behind "Gilda" stars Rita Hayworth and Glenn Ford in the film noir Affair in Trinidad (1952) in which he plays suave, nefarious Max Fabian. He continued in dramatic support with Because of You (1952), Older Brother, Younger Sister (1953) The Glory Brigade (1953) and probably made his next best impression in another film noir again starring Ford and as another villain (crime boss Mike Lagana) in the classic The Big Heat (1953). Later Scourby-featured 50's movies would include The Silver Chalice (1954), Sign of the Pagan (1954), Ransom! (1956) (a third film noir starring Ford), Giant (1956), Me and the Colonel (1958), The Big Fisherman (1959), and the Disney comedy The Shaggy Dog (1959)
As a TV/audio cassette narrator, Scourby had few peers. He would be heard narrating many popular Bible stories for time and has been credited for giving voice of the entire Bible at one point. Classical novel audio cassettes such as "Ship of Fools" and "War and Peace." On TV, he was critically lauded for his distinctive narration on the documentary classic Victory at Sea (1954) and the 70's The Body Human (1977) TV movie documentaries. Scourby also made a host of guest appearances on the popular TV programs from the late 50s throughout the 70's including "The Phil Silvers Show" ("Bilko"), "Shirley Temple's Storybook," "Ellery Queen," "Rawhide," "Bonanza," "The Rifleman," "The Twilight Zone," "Alfred Hitchcock Presents," "The Defenders, "The Rogues," "The Man from U.N.C.L.E.," "Daniel Boone" and "Mannix." "as well as the daytime soapers "Another World" and "General Hospital."
Long married to stage, screen and daytime soap opera actress Lori March, they had a daughter, Alexandra, born in 1944. Scourby died at age 71 of a heart attack on February 22, 1985. - Actress
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Whether portraying a glum, withering wallflower, a drab and dowdy housewife, a klutzy maid or a cynical gossip, eccentric character comedienne Alice Ghostley had the ability to draw laughs from the skimpiest of material with a simple fret or whine. Making a name for herself on the Tony-winning Broadway stage, her eternally forlorn looks later evolved as an amusingly familiar plain-Jane presence on TV sitcoms and in an occasional film or two during the 50s, 60s and 70s.
Alice was born in a whistle-stop railroad station in the tiny town of Eve, Missouri, where her father was employed as a telegraph operator. She grew up in various towns in the Midwest (Arkansas, Oklahoma) and began performing from the age of 5 where she was called upon to recite poetry, sing and tap-dance. Spurred on by a high school teacher, she studied drama at the University of Oklahoma but eventually left in order to pursue a career in New York with her sister Gladys.
Teaming together in an act called "The Ghostley Sisters", Alice eventually went solo and developed her own cabaret show as a singer and comedienne. She also toiled as a secretary to a music teacher in exchange for singing lessons, worked as a theater usherette in order to see free stage shows, paid her dues as a waitress, worked once for a detective agency, and even had a stint as a patch tester for a detergent company. No glamourpuss by any stretch of the imagination, she built her reputation as a singing funny lady.
The short-statured, auburn-haired entertainer received her star-making break singing the satirical ditty "The Boston Beguine" in the Broadway stage revue "New Faces of 1952", which also showcased up-and-coming stars Eartha Kitt, Carol Lawrence, Hogan's Heroes co-star Robert Clary and Paul Lynde to whom she would be invariably compared to what with their similarly comic demeanors. The film version of New Faces (1954)_ featured pretty much the same cast. She and "male counterpart" Lynde would appear together in the same films and/or TV shows over the years.
With this momentum started, she continued on Broadway with the short-lived musicals "Sandhog" (1954) featuring Jack Cassidy, "Trouble in Tahiti" (1955), "Shangri-La" (1956), again starring Jack Cassidy, and the legit comedy "Maybe Tuesday" (1958). A reliable sketch artist, she fared much better on stage in the 1960s playing a number of different characterizations in both "A Thurber Carnival" (1960), and opposite Bert Lahr in "The Beauty Part" (1962), for which she received a Tony nomination. She finally nabbed the Tony trophy as "featured actress" for her wonderful work as Mavis in the comedy play "The Sign in Sidney Brustein's Window" (1965).
By this time Alice had established herself on TV. She and good friend Kaye Ballard stole much of the proceedings as the evil stepsisters in the classic Julie Andrews version of Cinderella (1957), and she also recreated her Broadway role in a small screen adaptation of _Shangri-La (1960) (TV)_. Although it was mighty hard to take away her comedy instincts, she did appear in a TV production of "Twelfth Night" as Maria opposite Maurice Evans' Malvolio, and graced such dramatic programs as "Perry Mason" and "Naked City", as well as the film To Kill a Mockingbird (1962). She kept herself in the TV limelight as a frequent panelist on such game shows as "The Hollywood Squares" and "The Match Game".
Enjoying a number of featured roles in such lightweight comedy fare as My Six Loves (1963) with Debbie Reynolds, With Six You Get Eggroll (1968) starring Doris Day, and the Joan Rivers starrer Rabbit Test (1978), she also had a small teacher role in the popular film version of Grease (1978). Alice primarily situated herself, however, on the sitcom circuit and appeared in a number of recurring 'nervous Nellie" roles, topping it off as the painfully shy, dematerializing and accident-prone witch nanny Esmeralda in Bewitched (1964) from 1969-1972 (replacing the late Marion Lorne, who had played bumbling Aunt Clara), and as the batty friend Bernice in Designing Women (1986).
In 1978 Alice replaced Dorothy Loudon as cruel Miss Hannigan in "Annie", her last Broadway stand. Alice would play the mean-spirited scene-stealer on and off for nearly a decade in various parts of the country. Other musicals during this time included "Take Me Along", "Bye, Bye Birdie" (as the overbearing mother), and the raucous revue "Nunsense".
A series of multiple strokes ended her career come the millennium and she passed away of colon cancer on September 21, 2007. Her long-time husband of fifty years, Italian comedic actor Felice Orlandi died in 2003. The couple had no children.- Actress
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Making a career out of a post-nasal drip, this scene-stealing character comedienne was one of the best Broadway and Hollywood had to offer. It's too bad, then, that she wasn't utilized in films more often for this slight, chinless, parrot-faced, squawky-voiced bundle of (kill)joy could draw laughs from a well with a mere sniffle, gulp, or stare.
Plaintive Alice Pearce was born in New York City, the only child of a bank vice-president, but was raised in different European schools -- wherever her father had business. Eventually Alice settled back in NYC and began to gather experience in summer stock shows. She became a huge hit on the nightclub circuit which eventually paved the way to Broadway. She drew raves in the "New Faces of 1943" and was sensational in the role of Lucy Schmeeler, the sexless, adenoidal blind date, in the New York smash "On the Town" the very next year. As a testament to her talent, Alice was the only performer kept on board when Gene Kelly transferred the sailors-on-leave musical to film. Strangely, this did not lead to a slew of comedy vehicles, but Alice certainly sparked a number of fluffy films, even in the tiniest of roles -- never more so than as the hypochondriac patient who expounds on her physical ailments ad nauseam while overly-attentive Jerry Lewis suffers through a wrenching series of "sympathy pains" in The Disorderly Orderly (1964). It's slapstick comedy at its very best.
TV proved an attractive medium for her as well, hosting her own variety show briefly in 1949. Her career ended on a high note as the nagging, irrepressibly nosy neighbor Gladys Kravitz in the Bewitched (1964) sitcom. Ideally teamed with George Tobias as her hen-pecked husband, Abner, the two provided non-stop hilarity -- her frightened gulps, blank gaze and confused exasperation coupled with his dour disgust was comedy heaven. Sadly, Pearce developed ovarian cancer and died in 1966, only two seasons into the show. She was only 48. She quite deservedly won an Emmy trophy for her work a few months after her death. Hollywood lost a treasured talent in Alice Pearce, gone way before her time.- Actress
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Enigmatic, dark-haired foreign import Alida Valli was dubbed "The Next Garbo" but didn't live up to postwar expectations despite her cool, patrician beauty, remote allure and significant talent. Born in Pola, Italy (now Croatia), on May 3, 1921, the daughter of a Tridentine journalist and professor and an Istrian homemaker, she studied dramatics as a teen at the Motion Picture Academy of Rome and Centro Sperimentale di Cinematografia before snaring bit roles in such films as Il cappello a tre punte (1935) ["The Three-Cornered Hat"] and I due sergenti (1936) ["The Two Sergeants"]. She made a name for herself in Italy during WWII playing the title role in Manon Lescaut (1940), won a Venice Film Festival award for Piccolo mondo antico (1941) ["Little Old World"] and was a critical sensation in We the Living (1942) ["We the Living"]. She briefly abandoned her career, however, in 1943, refusing to appear in what she considered fascist propaganda, and was forced into hiding. The next year she married surrealist painter/pianist/composer Oscar De Mejo. They had two children, and one of them, Carlo De Mejo, became an actor. She divorced in 1955, then she came back to Italy,
Following her potent, award-winning work in the title role of Eugenie Grandet (1946), she was discovered and contracted by David O. Selznick to play the murder suspect Maddalena Paradine in Alfred Hitchcock's The Paradine Case (1947). She was billed during her Hollywood years simply as "Valli," and Selznick also gave her top femme female billing in Carol Reed's classic film noir The Third Man (1949), but for every successful film--such as the ones previously mentioned--she experienced such failures as The Miracle of the Bells (1948), and audiences stayed away. In 1951 she bid farewell to Hollywood and returned to her beloved Italy. In Europe again, she was sought after by the best directors. Her countess in Luchino Visconti's Senso (1954) was widely heralded, and she moved easily from ingénue to vivid character roles. Later standout films encompassed costume dramas as well as shockers and had her playing everything from baronesses to grandmothers in such films as Eyes Without a Face (1960) ["Eyes Without a Face"], Le gigolo (1960), Oedipus Rex (1967) ["Oedipus Rex"], The Big Scare (1974), 1900 (1976), Suspiria (1977), Luna (1979), Inferno (1980), Aspern (1982), A Month by the Lake (1995) and, her most recent, Angel of Death (2001).- Actress
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- Additional Crew
The acclaimed Alison Steadman was born in 1946 in Liverpool, the daughter of George Percival Steadman and Marjorie Evans. Educated at Childwall Valley High School, she studied at the East-15 Acting School from 1966-1969, then toiled as a secretary at the Liverpool Probation Service before deciding on a full-time acting career. She made her professional stage debut in "The Prime of Miss Jean Brodie" at the Theatre Royal in 1968, where she also played Ophelia in "Hamlet."
Following repertory experience she met playwright Mike Leigh and appeared in his plays "The Jaws of Death" and "Wholesome Glory," the latter making her London debut in 1973. She won the London Evening Standard Theatre Award in 1977 playing the lead role in "Abigail's Party" and appeared in a definitive TV version of the play directed by her husband that same year. Over the years Alison came to be known for her quirky roles and such dazzling stage work in "The Rise and Fall of Little Voice" (winning an Olivier Award in 1992), The Memory of Water (1999), Joe Orton's "Entertaining Mr. Sloane" (2001) and "The Woman Who Cooked Her Husband" (2002), playing a wronged wife who does the unthinkable, only served to prove the extent of her versatility.
Although her film appearances have been spotty, she greatly enhanced the few she has done in support, including A Private Function (1984), Coming Through (1988), Clockwise (1986), The Adventures of Baron Munchausen (1988), and Shirley Valentine (1989), not to mention her director-husband's critically lauded pictures Life Is Sweet (1990), for which she won the National Society of Film Critics Award, Secrets & Lies (1996), and Topsy-Turvy (1999). She and Leigh divorced in 2001. Alison has also entertained in many classy TV costumers, including The Singing Detective (1986), as the mother of Michael Gambon, and Pride and Prejudice (1995).- Actress
- Producer
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The grand, highly flamboyant Russian star Alla Nazimova of Hollywood silent films lived an equally grand, flamboyant life off-camera, though her legendary status has not held up as firmly as that of a Rudolph Valentino today.
Alla Nazimova was born Miriam Edez Adelaida Leventon in 1879, in Yalta, Crimea, in the Russian Empire, to Jewish parents, Sonya Horowitz and Yakov Leventon. She was the third child in an abusive, contentious household. Most of her sad childhood was spent in foster homes or in the care of other relatives and she showed a strong penchant for outrageous behavior to cope. Nazimova also showed a great aptitude for music at a young age and began violin lessons at age seven. She changed her name to Alla Nazimova when she began appearing on stage--her father insisted on it, as "performing" was not considered respectable at the time.
She began acting lessons at age 17 and joined Konstantin Stanislavski's company of actors as a pupil of his "method style" at the Moscow Art Theatre. During that time she supported herself by being kept by rich, older men. A failed love affair led to her only marriage, to an acting student named Sergei Golovin, but they separated quickly. She grew discontented with Stanislavsky and later performed in repertory. She met the legendary Pavel Orlenev, a close friend of Anton Chekhov and Maxim Gorky, and entered into both a personal and professional relationship with him. They toured internationally throughout Europe with great success and came to New York in 1905, where Nazimova was saluted on Broadway for her definitive interpretations of Henrik Ibsen's "Hedda Gabler" and "A Doll's House." Orlenev returned to Russia but Nazimova stayed.
She made her screen debut with War Brides (1916), which was initially a 35-minute play. By 1918 she was a box-office star for Metro Pictures and completed 11 films for the studio over a three-year period. A torrid, stylish and rather outré tragedienne who played exotic, liberal women confronted by great personal anguish, she earned personal successes as a reformed prostitute in Revelation (1918), a suicide in Toys of Fate (1918) and dual roles as half-sisters during the Boxer Rebellion in The Red Lantern (1919), not to mention the title role of Camille (1921) with Rudolph Valentino. At the same time she maintained a strong Broadway theatrical career.
In accordance with her rise in the film industry, she began producing her own efforts, which were bold and experimental--and monumental failures, although they are hailed as great artistic efforts today. Her Salomé (1922) was quite scandalous and deemed a failure at the time. The monetary losses she suffered as producer were astronomical. The Hays Code, which led to severe censorship in pictures, also led to her downfall, as did her outmoded acting style. She was forced to abandon films for the theater, scoring exceptionally well in Anton Chekhov's "The Cherry Orchard." She did return to films briefly in the 1940s in a variety of supporting roles, but she made these solely for the money.
Nazimova's private life has long been the subject of industry gossip. As a Hollywood cover to her well-known bisexual lifestyle, she coexisted in a "marriage" with gay actor Charles Bryant for well over a decade. Her "Garden of Allah" home was the centerpiece for many glamorous private parties. She died in 1945.- Actor
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Most western action film heroes begin and end their career in the saddle. Not so for cowboy idol Allan Lane (nicknamed "Rocky"), who started as a leading man in major studio dramas only to segue into "B" serials and sagebrush sagas in later life. The Indiana native was born in 1909 (some sources claim 1904). His attentions, however, veered toward the theater and he left school to join a Cincinnati stock company. He toured with "Hit the Deck" to New York City and continued there in various other theater projects. A Fox talent scout discovered Lane in 1929, and he left New York for Hollywood. Making his debut with Not Quite Decent (1929), he had trouble rising in stature, however, and left Hollywood in 1932, giving it a second try a few years later. His second attempt saw him enjoying second lead roles in good quality "B" films throughout the late 1930s, including Stowaway (1936) with little Shirley Temple, Maid's Night Out (1938) with Joan Fontaine, and Twelve Crowded Hours (1939), co-starring Lucille Ball. Searching for better roles, he signed with Republic in 1940, and after struggling a bit in his initial films he hit pay dirt after teaming with Linda Stirling in the popular serial The Tiger Woman (1944). His own serials as steadfast Mountie Dave King proved popular, and around this time he started gaining added attention as a photogenic and very personable cowboy star. With his trusty steed "Blackjack," Lane managed to churn out a bucketful of oaters every year, beginning with Silver City Kid (1944), for nearly a decade, trading blows with the bad guys and seeing justice prevail. Following this chapter of his career, he left films and toured with circuses and rodeo shows until the TV series Red Ryder (1951) came his way. He may be better remembered these days not for his dashing good looks and saddle appeal on film but to older generations as the off-camera voice for the talking horse Mister Ed (1961) in the classic 1960s sitcom of the same name. Lane retired shortly thereafter and died on October 27, 1973, after a six-week bout with cancer.- Actor
- Director
A little-remembered tough-guy actor on film and tough-guy brute off camera during the 40s and 50s, good-looking "C"-level player Allan Nixon was born on August 17, 1915 in Boston, Massachusetts. Geared toward sports in his early years he studied journalism at the University of Richmond on a football scholarship but left before graduating after being signed professionally by the Washington Redskins. When the football career did not work out, he found another athletic outlet as a pro wrestler.
While in New York, Nixon found work with the John Robert Powers modeling agency. Through that connection MGM took him on as a client and he relocated West. It was disappointing as the studio only relegated him to playing uncredited bit parts in such secondary war-era films as Rookies on Parade (1941), The Bugle Sounds (1942), Thunder Birds: Soldiers of the Air (1942) and Margin for Error (1943). In 1942 he married sexy, beautiful Marie Wilson, known for her "dumb blonde" roles ("My Friend Irma") in comedy films.
Following WWII service with the Signal Corps., Nixon found the interruption hurt what was already a fledgling career. Having difficulty winning parts as a freelance agent, he found plenty of time to develop a fondness for alcohol and getting arrested for drunk and disorderly behavior. A few post-war roles came his way with obscure parts in the films Dragnet (1947) and Linda, Be Good (1947), the latter film starring wife Marie.
Nixon's dark, brawny handsomeness led to his being one of a thousand contenders interviewed in replacing Johnny Weissmuller as the film's Tarzan, but in the end producer Sol Lesser chose Lex Barker. Nixon instead looked for some work on stage, finding a touring show with zaftig Mae West in her vehicle "Come On Up," as well as appearing with Ann Dvorak in "Anna Lucasta," Gladys George in "Rain" and wife Marie in both "The School for Scandal" and "Three Out of Four".
Despite Nixon having a slightly more visible role in Siren of Atlantis (1949), a Maria Montez vehicle, and finally nabbing a lead as a caveman in the now cult film Prehistoric Women (1950), he continued to sabotage his career with more tabloid news of his frequent drinking and fisticuffs arrests. And then Czech producer/director Hugo Haas gave Nixon a break co-starring with Haas' wife Beverly Michaels in his sordid exploitation film Pickup (1951), a Columbia release. Columbia signed him but lost interest fast with his rebellious nature and off-camera problems.
Wife Marie, who was the breadwinner in the house and who had continued to find him work here and there, finally had enough. After a couple of separations, she finally divorced the actor in 1952. Without Marie's support, work was meager, finding some work on TV westerns ("Death Valley Days," "Wild Bill Hickok," "Judge Roy Bean," "Tales of the Texas Rangers") and in the lowgrade films Outlaw Women (1952), Mesa of Lost Women (1953) (lead), Untamed Mistress (1956) (lead) and Apache Warrior (1957).
A second marriage was annulled quickly in 1954 and a third one in 1957 actually led to violence. Desperate for money, he resorted to getting income providing information for tabloid magazines. Although Warner Bros. producer William T. Orr offered him help by signing him up and finding bit parts on TV, Nixon gave it up in 1962. A fourth marriage settled him down and a new sideline as a novelist in the lurid vein ("Blessed Are the Damned," "The Sex Symbol," "The Bitch Goddess") gave him some financial security. He died of emphysema on April 13, 1995 at age 79.- Actress
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This feisty and very funny British comedienne and musical revue vet with the trademark 60s brunet page-boy haircut, pronounced jaw, and arguably the largest, Bette Davis-like eyes in London was born Shirley Anne Broadbent in Ashton-under-Lyne, Cheshire on September 14, 1935. The daughter of Hubert Howath Broadbent, an accountant, and wife Connie (Pyke) Broadbent, who greatly prodded her young daughter into becoming a performer, Amanda was named after the Depression-era child star Shirley Temple. Her grandfather was a theatre owner in Ashton-under-Lyne, and young Shirley made her very first appearance there at the age of 3 as a Christmas Tree Fairy.
Not long after this she began training earnestly in singing and in dance, particularly ballet. As a youngster she won a talent-judging contest singing "I'm Just a Little Girl Who's Looking for a Little Boy". She then went on to attend school at St. Anne's College in St. Anne's-on-Sea and later studied acting at the Cone-Ripman School.
After her parents' divorce, the teenager ran away from home and off to London where she lived at the Theatre Girls Club and subsequently found work as a chorus girl. By 1958 she had changed her marquee name to "Amanda Barrie" and made her TV debut with the comedy team of Morecambe and Wise in which her skirt accidentally fell off on live TV. She then took her first West End curtain call in a 1961 production of "Babes in the Wood". Eventually Amanada decided to set her sights beyond a dancing career, and moved more into musical revue work in the hopes for good comedy parts. Finding work as a dancer in cabaret shows and the revue "On the Brighter Side", she also trained at the Bristol Old Vic but did not perform in repertory.
Throughout the 1960s Amanda focused on her musical talents in the West End, and sparkled in a number of comedy shows. In the early part of the decade she hit solid notices with the revues "Six of One" (1963) with Dora Bryan and "See You Inside (1963)". Other stage work (which included occasional drama) came in the form of "Cabaret" (as Sally Bowles), "Private Lives", "Hobson's Choice, "Any Wednesday", "A Public Mischief", "She Loves Me" (replacing Rita Moreno in London), and "Little by Little". She also worked as the TV hostess on "Double Your Money" with Hughie Green and appeared in a number of comedy films: Operation Bullshine (1959), her debut in an unbilled bit, A Pair of Briefs (1962), Doctor in Distress (1963)and I've Gotta Horse (1965). She appeared to very good advantage in two of the slapstick "Carry On..." film series. She played a female cabbie in the Carry on Cabby (1963) and Cleopatra herself (with a sexy lisp) in Carry on Cleo (1964).
After her film peak Amanda continued to show resiliency on stage and TV. Theatre endeavors included "Absurd Person Singular", the musical "Stepping Out" with Julia McKenzie, "The Mating Game", "Blithe Spirit (as Elvira) and "Twelfth Night". Occasional movie work came in, including the addled comedy One of Our Dinosaurs Is Missing (1975) with Helen Hayes. Of the countless sitcoms Amanda has been involved in, she became a soap opera favorite beginning in 1981 with her participation as Alma Sedgewick in Coronation Street (1960). Her appearances were infrequent until the character became a regular in 1989. She retired the role after 11 years in 2001 in an effort to spread her wings once again and seek other work. The producers actually killed off her popular character in quick fashion with a rapid case of cervical cancer.
In 1967 Amanda married actor and theatre director Robin Hunter and the twosome appeared occasionally on stage together, including the pantomime "Aladdin" in late 1967 and 1968 in which Amanda had the title role. The couple separated in the 1980s, however, but remained good friends and never divorced. Hunter died in 2004. In 1997 Amanda battled a serious optic disease in which she eventually lost the sight of her left eye. She has continued to perform, however, and more recent work has included the pantomimes "Jack and the Beanstalk" (2006) and "Cinderella" (2007), in which she played the Fairy Godmother. In her popular and highly candid autobiography "It's Not a Rehearsal," a best seller published in 2003, Amanda opened up for the first time about her bisexuality.- One of those dazzling chameleon players who never received their due, Amy Wright is still woefully unrecognized despite a superb resumé of Southern-styled film credits since the late 70s. On the other side of the coin, she has certainly made a distinct name for herself in the theater world as the embodiment of down-home eccentricity. As a testament to her interesting dichotomy as an offbeat actress, she played much younger than she was at the onset of her career; these days she tends to play older.
Born on April 15, 1950, in Chicago, Amy was raised in the Midwest and eventually attended Beloit College. She gave up her position as a teacher to pursue her dream to be an actress in New York. Elfin in quality with an intriguing, gap-toothed look, the child-like blonde actress found almost immediate reassurance as an apprentice at actor Rip Torn's Sanctuary Theater, making her stage debut in the company's 1975 production of "Agnes and Joan". Amy and her much older mentor (then married to theater legend Geraldine Page) began a clandestine personal relationship that produced two daughters. Torn never divorced Ms. Page and his longtime relationship with Amy was exposed shortly before his wife's sudden death of a heart attack in 1987. The couple eventually married. Interestingly, Amy appeared with both Torn and Ms. Page in the August Strindberg short plays "Miss Julie", "Creditors" and "The Stronger" in 1977 in repertory at the Hudson Guild Theatre, later taking the last two plays to the Public Theater.
Amy's sweetly countrified look and demeanor inspired a number of standout performances in high quality productions. At age 26, she earned her first major attention on stage playing a crippled teen in a successful revival of Lanford Wilson's "The Rimers of Eldrich" in 1976. Two years later Wilson wrote the stage part of a lifetime for her as 13-year-old Shirley Tally in his acclaimed work "Fifth of July" off-Broadway in 1978. The show made a spectacular transition to Broadway in 1980. In 1983 she shared the Drama Desk Award for her ensemble contribution in the comedy farce "Noises Off".
Amy's film debut was in trademark quirky form with Martha Coolidge's documentary-styled Not a Pretty Picture (1976), and she went on to minor roles in the small-town "A" pictures The Deer Hunter (1978) and Breaking Away (1979). Arguably one of her most spellbinding film appearances came as Harry Dean Stanton's religiously wacko 15-year-old daughter, Sabbath Lily, in John Huston's Wise Blood (1979), following this with an equally strange comic role as a bed-hopping groupie in Woody Allen's Stardust Memories (1980). Amy also shared moments of brilliance opposite John Savage's handicapped lead in Inside Moves (1980); as William Hurt's spinster sis in The Accidental Tourist (1988); in Beth Henley's Southern-baked beauty contest spoof Miss Firecracker (1989); and as Jeff Daniels' soon-to-be-married sister in Love Hurts (1990).
As much as these performances should have placed her at the very top of the Hollywood echelon of character players, Wright was surprisingly ignored for film awards and continued more or less obscurely. Nevertheless, she continued to make strong stage showings opposite the late Uta Hagen in the Off-Broadway winner "Mrs. Klein" in 1995, and as part of the familial comedy relief in "Lake Hollywood" (1999). Other reported stage appearances over time have included "Breakfast with Les and Bes", "Hamlet", A Village Wooing", "The Little Foxes" and "Prin".
On camera she continues with her thoroughly offbeat ways in such movies as The Scarlet Letter (1995), Tom and Huck (1995) (as Aunt Polly), Winning Girls Through Psychic Mind Control (2002), Messengers (2004) and her most recent, The Namesake (2006), along with rare TV appearances in such popular shows as "Law and Order". - Radiant California blonde model and brief 1960s pop culture item Andrea Dromm had a mere two-movie run in the 1960s before she deliberately phased out her film career out. Born on February 8, 1941, to a well-to-do family (her father was an engineer), she was raised for a time on Long Island (Manhasset) before the family moved to Pennsylvania and settled. Little Andrea was already in the modeling business by age six but discontinued it in high school in order to pursue a steadier education.
Following graduation, Andrea attended the University of Connecticut and majored in drama, appearing in numerous school plays while there ("The Crucible," "The Diary of Anne Frank"). She quit during her senior year, however, and moved to San Francisco, working for a Saks store for a time. She then returned East to college to finish her degree.
Her move back to New York also encouraged a return to modeling and Andrea rebuilt her career as a popular New York runway model. She eventually signed up with the Eileen Ford Agency and became an "overnight" star after winning the role of the flight attendant in a long-running commercial for National Airlines in 1963.
Hollywood took notice of this easy, breezy, beautiful commercial model and enticed her to move West to forge an acting career. It was a reluctant move for her. Her first acting job would be in the second "Star Trek" pilot episode, which introduced William Shatner to the show. Although she was promised a continued run in the sci-fi series, she instead accepted her first film role.
The classic comedy/satire The Russians Are Coming the Russians Are Coming (1966) was a terrific introductory showcase for her in which she played a fetching-looking teenage babysitter who falls for a handsome young Russian sailor and protector (John Phillip Law). Both were surrounded by huge comedy talent in the film, including Alan Arkin, Carl Reiner, Paul Ford and Jonathan Winters. Following this she revealed even more of her curvy assets as a pretty, bikini-draped undercover agent trying to solve a murder alongside equally pretty Troy Donahue in Come Spy with Me (1967). This movie bombed on arrival.
The Hollywood scene was not for Andrea, however, and, after a mere three acting jobs, willingly returned to New York and modeling again. Still benefiting from her ultimate surfer West Coast image and exposure on-camera Hollywood exposure, Clairol hired her and gave her huge "Summer Blonde" campaign.
Once her modeling days were over, the never-married Andrea deliberately avoided the spotlight and has been little seen since. Reports have indicated that she was living with her mother off of real estate investments and spending time between homes in The Hamptons and Palm Beach. - Actress
- Soundtrack
She made only a handful of films within a span of four years (1936-1940), but gentle, soulful-eyed Andrea Leeds touched hearts with those few, culminating in an Oscar-nomination for Best Supporting Actress as the sensitive, aspiring young actress who doesn't survive the school of hard knocks in the 1937 movie version of Edna Ferber-George S. Kaufman's serio-comic play Stage Door (1937).
Andrea was born in Butte, Montana. As her father was a British-born mining engineer, the family traveled quite extensively during her "wonder years". Following graduation from UCLA with the intentions of being a screenwriter, she pursued acting instead and apprenticed in bit roles under her given name, Antoinette Lees. She appeared in Hal Roach comedy shorts with comedian Charley Chase at this same time before landing better parts in better pictures. She portrayed another actress hopeful in the fine film Letter of Introduction (1938), and gave equally affecting turns in the sentimental drama The Goldwyn Follies (1938), Swanee River (1939) (as Mrs. Stephen Foster), The Real Glory (1939) and Earthbound (1940), all blessed with her trademark gentleness, grace and humanity. Personal tragedy struck, however, when her fiancé, Jack Dunn, then an ice skating partner of Sonja Henie, died suddenly of a rare disease in July of 1938, and her once strong interest in her career began to wane dramatically. More than a year later, Andrea married wealthy sportsman Robert Stewart Howard, heir to father Charles S. Howard's racing stables, and gave up her profession completely to raise a family.
Devoutly religious, Andrea and her husband eventually settled in the Palm Springs area with their two children, Robert Jr. and Leann, the latter dying of cancer in 1971. Her life and interests would include owning and breeding horses. After her husband's death in 1962, she operated and owned a modest jewelry shop in the Palm Springs area, designing many of her own pieces. Andrea died of cancer in 1984 at age 70.- Actor
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You'd think with a last name like that, character player Andrew Tombes was doomed to play gravediggers in horrors or coroners in crime drama. Not usually, and when he did, it was often played for laughs. Born June 29, 1885 in Ohio, he was an athletic sort who played a lively, talented game of college baseball at Phillips-Exeter Academy but the dreams of entertaining quickly took over. As a performer he started things off in minstrels and musical revues, and appeared notably as a vaudevillian comic. Appearances in "Flo-FLo (1908), The College Girls" (1909), "Miss 1917" (1917) and "Poor Little Ritz Girl" (1920) led to the really big time for a comedian -- Ziegfeld. He slayed 'em as a star headliner in the Ziegfeld Follies in the 1920s, and played a wide range of squirrely parts in everything from Shakespeare to screwball farce. It was friend 'Will Rogers' from his old Follies days, who invited Tombes, at age 50, to settle in Hollywood as a prime featured performer in Rogers' film vehicle Doubting Thomas (1935). Thereafter at Fox he played the quintessentially bald, bemused and bug-eyed executive, professor, police captain, movie mogul or school administrator, but the parts got smaller and smaller. He went on to freelance in scores of featherweight "B" movies, often uncredited, mostly musicals and/or comedies. On the funereal side, he did play a dour undertaker's assistant in the Hope/Crosby vehicle Road to Morocco (1942) and a mortician in The Mad Ghoul (1943). True to form, his last movie role was in a comedy, the forgettable The Go-Getter (1956). He died about two decades later at the age of 90 in New York City.- Music Artist
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The extraordinary, easy-listening crooning talents of Andy Williams were first unveiled when he was 8 years old and inducted into the Williams Brothers Quartet as its youngest member. Born in Wall Lake, Iowa on December 3, 1927, Andy started singing with his three older brothers (Bob Williams, Dick Williams and Don Williams) in his hometown's Presbyterian church choir. The quartet became instant local news and made its professional singing debut when Andy was in the third grade. A bonafide hit, they went on to become a staple on radio in nearby big city Des Moines. From there, the harmonizing siblings found widespread popularity on wartime radio, including Chicago and Cincinnati. Andy graduated from high school in Cincinnati. They eventually caught the attention of crooning king Bing Crosby, who included the boys on his mammoth 1944 hit single "Swinging on a Star". Bing, of course, was keen on the boys' combined talents, having his own singing quartet of sons at home. Speciality film appearances in musicals were also a rage and the boys appeared in such film fare as Janie (1944), Kansas City Kitty (1944), Something in the Wind (1947) and Ladies' Man (1947). They then joined singer/personality Kay Thompson in 1947 with her eclectic nightclub act and stayed with the popular show until they disbanded in 1951. Andy was the only Williams brother who ventured out to the East Coast to seek a solo singing career.
His career received a major boost when he co-starred with Chico Marx on the short lived television show called The College Bowl (1950 - 1951). On the show he acted, sang, and danced along with others. The show lasted for 26 weeks. After College Bowl was cancelled Andy Williams was offered regular singing duties on Steve Allen's The Tonight Show (1953) show, which led to Andy's first recording contract with Cadence Records in 1956 and his first album. A "Top 10" hit came with the lovely ballad "Canadian Sunset". This, in turn, was followed by "Butterfly" (#1), "Lonely Street", "I Like Your Kind of Love", "Are You Sincere" and "The Hawaiian Wedding Song", the last tune earning him five Grammy Award nominations. An ingratiating presence on television, he was handed a musical show co-hosting with June Valli and a summer replacement series of his own. In the meantime, he developed into a top nightclub favorite.
In 1962, Andy made a lucrative label change to Columbia Records, which produced the "Top 10" pop hit "Can't Get Use to Losing You" and a collaboration with Henry Mancini, which inspired Andy's signature song, "Moon River," the Oscar-winning tune from the popular Audrey Hepburn film Breakfast at Tiffany's (1961). Andy had the honor of singing the song during the Oscar ceremony. Other major chartbusters for Andy came with the movie theme songs Days of Wine and Roses (1962), Dear Heart (1964) and Love Story (1970).
An attempt to parlay his singing fame into a film career was one of Andy's few missteps in a hugely successful career. He co-starred in the light, screwy Ross Hunter comedy soufflé I'd Rather Be Rich (1964) starring Sandra Dee and enjoyably squared off with fellow singing suitor Robert Goulet. Andy and Robert also sang in the picture (including sharing the title song), which was a tepid remake of It Started with Eve (1941) starring Deanna Durbin. It was an artificial role to be sure and is only significant in that it was Andy's sole legit acting experience on film.
What truly put Andy over the top was the phenomenal success of his weekly variety show The Andy Williams Show (1962). Andy was a natural in front of the television camera and his dueting with such singing legends as Ella Fitzgerald, Judy Garland and Peggy Lee kept audiences enthralled week after week. What goes around comes around for Andy would often invite his brothers to sing with him and also introduced another talented harmonizing boy group--the seven "Osmond Brothers". The series, which concluded in 1971, won three Emmy Awards for "Best Musical/Variety Series". Andy himself picked up a couple of nominations as performer.
In 1961, Andy married a stunning, whispery-voiced French chanteuse named Claudine Longet (born in Paris in 1942), who was 15 years younger. The couple had three children. She made a mild hit of the song "Love Is Blue" and enjoyed slight celebrity status. Like the Crosby family, Andy's clan became an integral part of his annual classic Christmas television specials. Despite the fact that the couple separated in 1969, Claudine continued to appear in these specials in the early 1970s.
In tandem with his famous television show, Andy opened Caesar's Palace in 1966 and went on to headline there for 20 years. Following the demise of his television success, Andy continued to tour both here and abroad. He laid low for a time to protect his children through a tragic crisis when his ex-wife Claudine (since 1975) became enmeshed in a tabloid-styled shooting in March of 1976. The 1970s also deemed the cardigan-wearing Andy as too square and clean-cut to prod younger audiences. Nevertheless, he hosted the Grammy Awards a few times and returned to a syndicated series format in 1976, which was short-lived. Andy remarried happily in 1991 to non-professional Debbie Haas.
Inspired by singer/friend Ray Stevens, Andy had built a $12 million state-of-the-art theater, which opened in 1992 and was christened the Andy Williams Moon River Theater. Andy became the first non-country star to perform there and other theme shows have since been inspired to populate the small town--now considered the live music capital of the world. At age 70+, he continued to perform in Branson, Missouri, where he and his wife reside, and in Europe. Andy Williams died at age 84 of bladder cancer in Branson, Missouri on September 25, 2012.- Beautiful California-born Angel Tompkins started her career out as a Chicago-area model before attempting an on-camera career in the late 60s. She made an assured (major) film debut as the seductive blonde who comes between husband and wife Elliott Gould and Brenda Vaccaro in the comedy I Love My Wife (1970). An irreverent vehicle for Gould, who was in the initial stages of his euphoric post-M*A*S*H (1970) super stardom, Angel experienced almost Bo Derek-like attention as Gould's mistress and earned a Golden Globe nomination for "Best Newcomer" in the process. The camera obviously loved her and she immediately went into a slew of projects, but the quality was nowhere to be found after such a promising start.
Prime Cut (1972) at least co-starred Gene Hackman and Lee Marvin with newcomer Sissy Spacek in a featured role, but it bordered on trashy entertainment. Angel's "Clarabelle" character did warrant some attention when Playboy magazine featured some nude scenes in their pages. Little Cigars (1973) has a minor cult following today but is no great shakes. Angel again played a mistress, this time a mobster's gal, who joins a band of little people and robs banks and casinos. Such teasing sexploitation films as How to Seduce a Woman (1974) and The Teacher (1974), the latter co-starring the now-grownup Dennis the Menace (1959) Jay North, and violence-prone flicks including The Don Is Dead (1973), The Farmer (1977) and The Bees (1978) did not help in the long run.
On TV, Angel played a season on the short-lived Search (1972), and showed up in scores of guest spots as either a fetching diversion or fetching part of the action in such shows as The Wild Wild West (1965), Mannix (1967), Task Force: Part I (1976), Knight Rider (1982) and Simon & Simon (1981). She continued into the 80s but her filming remained standard. Playing a stripper who divorces Charles Bronson in Murphy's Law (1986), later film appearances include the action-filled Relentless (1989), Crack House (1989) and Extreme Honor (2001). A dedicated SAG board member all these years, Angel's multiple runs for the presidency have thus far been unsuccessful. - Actress
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The dark, petulant beauty of this petite American film and musical star worked to her advantage, especially in her early dramatic career. Anne Marie Blythe was born of Irish stock to Harry and Annie (nee Lynch) Blythe on August 16, 1928 in Mt. Kisco, New York. Her parents split while she was young and she, her mother and elder sister, Dorothy, moved to New York City, where the girls attended various Catholic schools. Already determined at an early age to perform, Ann attended Manhattan's Professional Children's School and was already a seasoned radio performer, particularly on soap dramas, while in elementary school. A member of New York's Children's Opera Company, the young girl made an important Broadway debut in 1941 at age 13 as the daughter of the characters played by Paul Lukas and Mady Christians in the classic Lillian Hellman WWII drama "Watch on the Rhine", billed as Anne (with an extra "e") Blyth. She stayed with the show for two years.
While touring with the play in Los Angeles, the teenager was noticed by director Henry Koster at Universal and given a screen test. Signed on at age 16 as Ann (without the "e") Blyth, the pretty, photographic colleen displayed her warbling talent in her debut film, Chip Off the Old Block (1944), a swing-era teen musical starring Universal song-and-dance favorites Donald O'Connor and Peggy Ryan. She followed it pleasantly enough with other "B" tune-fests such as The Merry Monahans (1944) and Babes on Swing Street (1944). It wasn't until Warner Bros. borrowed her to make self-sacrificing mother Joan Crawford's life pure hell as the malicious, spiteful daughter Veda in the film classic Mildred Pierce (1945) that she really clicked with viewers and set up her dramatic career. With murder on her young character's mind, Hollywood stood up and took notice of this fresh-faced talent.
Although Blyth lost the Best Supporting Actress Oscar that year to another Anne (Anne Revere), she was borrowed again by Warner Bros. to film Danger Signal (1945). During filming, she suffered a broken back in a sledding accident while briefly vacationing in Lake Arrowhead and had to be replaced in the role. After a long convalescence (over a year and a half in a back brace) Universal used her in a wheelchair-bound cameo in Brute Force (1947).
Her first starring role was an inauspicious one opposite Sonny Tufts in Swell Guy (1946), but she finally began gaining some momentum again. Instead of offering her musical gifts, she continued her serious streak with Killer McCoy (1947) and a dangerously calculated role in Another Part of the Forest (1948), a prequel to The Little Foxes (1941) in which Blyth played the Bette Davis role of Regina at a younger age. Her attempts at lighter comedy were mild at best, playing a fetching creature of the sea opposite William Powell in Mr. Peabody and the Mermaid (1948) and a teen infatuated with a much-older film star, Robert Montgomery, in Once More, My Darling (1949).
At full-throttle as a star in the early 1950s, Blyth transitioned easily among glossy operettas, wide-eyed comedies and all-out melodramas, some of which tended to be overbaked and, thereby, overplayed. When not dishing out the high dramatics of an adopted girl searching for her birth mother in Our Very Own (1950) or a wrongly-convicted murderess in Thunder on the Hill (1951), she was introducing classic standards as wife to Mario Lanza in The Great Caruso (1951) or playing pert and perky in such light confections as Katie Did It (1950). A well-embraced romantic leading lady, she made her last film for Universal playing a Russian countess courted by Gregory Peck in The World in His Arms (1952). MGM eventually optioned her for its musical outings, having borrowed her a couple of times previously. She became a chief operatic rival to Kathryn Grayson at the studio during that time. Grayson, however, fared much better than Blyth, who was given rather stilted vehicles.
Catching Howard Keel's roving eye while costumed to the nines in the underwhelming Rose Marie (1954) and his daughter in Kismet (1955), she also gussied up other stiff proceedings like The Student Prince (1954) and The King's Thief (1955) will attest. Unfortunately, Blyth came to MGM at the tail end of the Golden Age of musicals and probably suffered for it. She was dropped by the studio in 1956. She reunited with old Universal co-star Donald O'Connor in The Buster Keaton Story (1957). Blyth ended her film career on a high note, however, playing the tragic title role in the The Helen Morgan Story (1957) opposite a gorgeously smirking Paul Newman. She had a field day as the piano-sitting, kerchief-holding, liquor-swilling torch singer whose train wreck of a personal life was destined for celluloid. Disappointing for her personally, no doubt, was that her singing voice had to be dubbed (albeit superbly) by the highly emotive, non-operatic songstress Gogi Grant.
Through with films, Blyth's main concentration (after her family) were musical theatre and television. Over the years a number of classic songs were tailored to suit her glorious lyric soprano both in concert form and on the civic light opera/summer stock stages. "The Sound of Music", "The King and I", "Carnival", "Bittersweet", "South Pacific", "Show Boat" and "A Little Night Music" are but a few of her stage credits. During this time Blyth appeared as the typical American housewife for Hostess in its Twinkie, cupcake and fruit pie commercials, a job that lasted well over a decade. She made the last of her sporadic TV guest appearances on Quincy M.E. (1976) and Murder, She Wrote (1984) in the mid-1980s.
Married since 1953 to Dr. James McNulty, the brother of late Irish tenor Dennis Day, she is the mother of five, Blyth continues to be seen occasionally at social functions and conventions.- Actress
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For one tough cookie who achieved major cult stardom with her hard-bitten blonde looks and "Perfect Vixen" tag, Ann Savage in real life was a lovely, spirited, gentle-looking lady. She may have peaked only briefly in 1940s Hollywood low-budgeters, but she made the most of it during that fairly short tenure. Out of the dozens of movies under her belt, one film part shot her to femme fatale infamy and, to this day, remains her biggest claim to fame. It took only four (some accounts say six) days to shoot, but Detour (1945) stands out as one of the best examples of surreal film noir, and the unforgettable dialogue and riveting teaming of Ann and sulky co-star Tom Neal are the primary reasons for its enduring fame.
An only child, Ann was born Bernice Maxine Lyon in Columbia, South Carolina, on February 19, 1921. Her father was a US Army officer and the family traveled with him to his various duty stations, including Dallas and New Orleans, until settling in Jacksonville, Florida. He died when she was only four years old. Ann's mother, a jewelry buyer, took the two of them to Los Angeles before Ann was 10 years old. Appearing in local theater productions, the young girl trained at Max Reinhardt's acting school. The school's manager happened to be Bert D'Armand, who later became her agent. They married in 1945.
She changed her name to "Ann Savage" before even stepping onto a sound stage and it was a workshop production of "Golden Boy" that led to her initially signing up at Columbia Pictures. The first glimpse of Ann came as an extra in MGM's The Great Waltz (1938) and she gradually earned on-camera experience in unbilled parts in such war-era movies as The More the Merrier (1943) and Murder in Times Square (1943). She rose to featured and co-star status in such lightweight Columbia films as Two Señoritas from Chicago (1943), Footlight Glamour (1943) and Saddles and Sagebrush (1943).
Although Ann played devilish dames in The Unwritten Code (1944), Apology for Murder (1945) and The Last Crooked Mile (1946), it was venomous Vera, the blackmailing, tough-talking, cigarette-dangling, good-for-nothing who bullies hapless wanna-be tough-guy musician (Tom Neal) into her schemes in Detour (1945) that truly summed up her "bad girl" charisma. At the inducement of Columbia Pictures honcho Harry Cohn, Savage and Neal made four films together (the last being "Detour"). The other three were Klondike Kate (1943), Two-Man Submarine (1944) and The Unwritten Code (1944) (the two would reunite years later in a 1955 TV episode of the series Gang Busters (1952)).
Ann was one of the more popular WWII pinups. After appearing in a photo layout in "Esquire" magazine in 1944 that was shot by renowned studio photographer George Hurrell Sr., she became a favorite with the troops, making numerous personal appearance tours at various military bases in order to raise war bonds. Freelancing after leaving Columbia, Ann appeared in a host of other second-string pictures, including You Can't Do Without Love (1944), The Spider (1945), The Dark Horse (1946), Renegade Girl (1946), Jungle Flight (1947), Satan's Cradle (1949), Pygmy Island (1950) and Woman They Almost Lynched (1953), which would be her last film for over three decades. While she certainly demonstrated talent and range, she was unable to rise out of the "B" mold. This led her to look at TV for a time in the 1950s as a possible medium, guesting on such shows as The Ford Television Theatre (1952), City Detective (1953), Schlitz Playhouse (1951), Death Valley Days (1952) and Fireside Theatre (1949).
Ann semi-retired in the late 1950s and moved from Hollywood to Manhattan with husband Bert, who by now had traded his agent business for the financing and professional trading world. She occasionally appeared on local TV and in industrial films. The couple traveled extensively until his sudden death in 1969. A grief-stricken Ann returned to Hollywood to be near her mother, sharpened her legal secretarial skills by working as a docket clerk with Bert's attorneys in Los Angeles (Loeb & Loeb) and became an avid speed-rated pilot in her spare hours.
Elsewhere the veteran actress continued to delight her fans with her appearances at "film noir" festivals, nostalgia conventions and special screenings of her work. Refusing to appear in exploitative material, Ann turned down much work. In later years she appeared very sporadically--in the movie Fire with Fire (1986) and an episode of Saved by the Bell (1989). Out of nowhere the resilient octogenarian was cast by Canadian director Guy Maddin, a film noir fan, to play a shrewish mother in the highly acclaimed My Winnipeg (2007), earning "bad girl" raves all over again.
Named an "icon and legend" by the Academy of Motion Picture Arts and Sciences in 2005, Ann was applauded for her body of work by "Time" Magazine twice in 2007. She died at a Hollywood nursing home at age 87 on Christmas Day in 2008 from complications of multiple strokes.- Actress
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The dark, delicate and demure beauty of an Anna Maria Alberghetti is what one envisions a princess to look like and, indeed, she did have a chance to play a couple in her lifetime. Reminding one instantly of the equally enchanting Pier Angeli, Anna Maria's Cinderella story did not take on a tragic storybook ending as it did for Ms. Angeli. On the contrary, Anna Maria continues to delight audiences today on many levels, particularly on the concert and lecture stages.
She was born in a musical home in Pesaro, Italy, in 1936, the daughter of a concertmaster father and pianist mother. They greatly influenced her obvious talent and by age six she was performing with symphony orchestras with her father as her vocal instructor. World War II had forced the Alberghettis from their homeland and after performing in a European tour, Anna Maria's pure operatic tones reached American ears via her Carnegie Hall debut at age 14. The family decided to settle permanently in the States. The teenager went on to perform with numerous symphony orchestras during this time.
In 1950 Paramount saw a bright future in the making. Within a short time she was capturing hearts on film, making a magical debut in the eerie but hypnotic Gian Carlo Menotti's chamber opera The Medium (1951). Opposite the magnificent Marie Powers in the title role as the fraudulent Madame Flora, Anna Maria was directed by Menotti himself in the independently-produced film. While the movie was appreciated in art house form, Paramount wasted no time in placing the photogenic Anna into mainstream filming. Her budding talent was strangely used, however. She had an extended operatic solo in the breezy Capraesque Bing Crosby/Jane Wyman comedy Here Comes the Groom (1951), and played a Polish émigré befriended by a singer (played by Rosemary Clooney) who discovers the girl has musical talent of her own in the so-so The Stars Are Singing (1953). Anna's songs included the touching "My Kind of Day" and "My Heart Is Home". Thereafter, for some strange reason, her vocals were not utilized. She acted instead in such rugged adventures as The Last Command (1955) and Duel at Apache Wells (1957), and in the fluffy comedy Ten Thousand Bedrooms (1957) opposite Dean Martin. And, in the end, she was lovely but utterly wasted as the Prince Charming equivalent in the gender-bending Jerry Lewis farce Cinderfella (1960). Not only does she arrive late in the film, but Jerry gave her no songs to sing -- he sang them all!
Extremely disillusioned, Anna Maria departed from films in the early 60s and instead sought out work on the Broadway stage. It was here that she found that elusive star. Following a role in the operetta "Rose Marie" in 1960, Anna Maria won the part of a lifetime as the waif-like Lili in the musical "Carnival", based on Leslie Caron's charming title film role. Anna Maria was utterly delightful and quite moving in the role and for her efforts was awarded the Tony Award -- tying in her category with Diahann Carroll for "No Strings". Anna Maria's sister Carla replaced her when she left the show. Throughout the 60s she continued to impress in musical ingénue showcases -- the title role in "Fanny" (1963), Maria in "West Side Story" (1964), Marsinah in "Kismet" (1967) (which was televised), and Luisa in "The Fantasticks" (1968), to name but a few.
As she matured, she made a mark in other facets of entertainment. On TV Ed Sullivan first introduced Anna Maria to millions of households and the public was thoroughly taken by this singing angel. She appeared with Sullivan a near-record 53 times. She also graced a number of popular TV shows with non-singing, damsel-in-distress roles on such shows as "Wagon Train" and "Checkmate". Her recording career has included associations with Capitol, Columbia, Mercury and MGM Records.
In 1964, Anna married TV director/producer Claudio Guzmán who was almost a decade older. The ten-year marriage produced two daughters, Alexandra and Pilar. She began to downplay her career after this in favor of parenting, particularly after her divorce in 1974.
Returning to the theater on occasion, Anna Maria later reintroduced herself back into TV households as the housewife/pitchwoman for "Good Seasons" salad dressing. Her one-woman stage show led to her interest as a cabaret performer. More recent film appearances have included fun roles in the comedies Friends and Family (2001) and The Whole Shebang (2001).- When Americans recall famous Italian film goddesses, the names of Loren, Lollobrigida and Cardinale usually role quickly off the tongue. Not so for this Rome-born lead actress and brunet beauty who nevertheless made a respectable sexy impact in international films during the 1950's and early 1960's.
She was born Anna Maria Guerra on February 18, 1934, but took the surname Ferrero as her stage moniker in tribute to the famed musical director and conductor Willy Ferrero. Anna Maria entered films as a teenager with a prominent second female lead for director J.J. Gonzales in the drama Il cielo è rosso (1950) (The Sky Is Red). Before long her delicate, photogenic beauty and assured talent would be captured on the lens of such important Italian directors as Michelangelo Antonioni, Mario Monicelli, Carlo Lizzani, Gianni Franciolini, Dino Risi and Francesco Maselli. Although her career would only span slightly more than a decade, Ferrero achieved enviable notice for her work in films that included The Forbidden Christ (1951) with Marina Berti and Jacques Sernas; Domani è un altro giorno (1951) (Tomorrow Is Another Day) with Pier Angeli; the ill-fated lead in The Temptress (1951) opposite Michel Auclair; Fanciulle di lusso (1952) also with Sernas; Poppy (1952) with Walter Chiari; The Unfaithfuls (1953) with Lollobrigida; Febbre di vivere (1953) with Marcello Mastroianni; as composer Verdi's wife in The Life and Music of Giuseppe Verdi (1953) starring Pierre Cressoy; and The Count of Saint Elmo (1951) with Massimo Serato.
Anna's obvious allure and sensitive approach to acting made her a frequent, popular casting choice. Her rich role in Chronicle of Poor Lovers (1954) was duly noted and the film went on to win two Silver Ribbons at the Cannes Film Festival. Although she acted rarely outside her native Italy, she was part of the international cast of King Vidor's epic drama War and Peace (1956) headed by Audrey Hepburn, Henry Fonda and Mel Ferrer. While she garnered fine reviews for her outpouring of film work, Anna also was accomplished on stage, joining Vittorio Gassman's theatre company and working there for several seasons. Notable were her Ophelia in "Hamlet," Desdemona in "Othello" (which she also portrayed on film with Gassman as Iago), and the title role in the musical "Irma la Douce." With Gassman, she also played Anna Damby in the cinematic version of the Alexandre Dumas drama Kean: Genius or Scoundrel (1957). The couple had a personal relationship for several years.
Following some lesser but spirited performances in the early 1960's films The Hunchback of Rome (1960), Gold of Rome (1961) (both with French actor Jean Sorel) and her last, Countersex (1964), Anna surprised many by retiring at age 30 after marrying Sorel Jean Sorel on January 28, 1962. The couple remained married until her death on May 21, 2018 in Paris. - Actress
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The dark and smoldering American soprano Anna Moffo was born in Wayne Pennsylvania, on June 27, 1932, and, following graduation at Radnor High School, studied at Philadelphia's Curtis Institute of Music and in Rome, Italy on a Fulbright scholarship at the Conservatorio di Santa Cecilia. At one time she was actually considering joining a nunnery but her love for music won out. Her successful combination of glamorous beauty and exciting singing style made her one of opera's most popular draws in the late 1950s and 1960s.
Moffo took her first professional bow in 1955 as Norine in Donizetti's "Don Pasquale" in Spoleto, and later that year scored highly as Cio-Cio-San in Puccini's "Madama Butterfly" in an Italian TV production directed by Mario Lanfranchi, whom she married in 1957. Strenthening her reputation in Saltzburg and Vienna, Moffo made her U.S. debut at the Lyric Opera of Chicago in 1957 as Mimi in Puccini's "La Boheme." Her first time on the Metropolitan stage came with the role of Violetta in Verdi's "La Traviata." Over the years her bel canto repertoire would include Micaela in "Carmen," Gilda in "Rigoletto" and Liu in "Turandot." Arguably, the zenith of her Met career coincided with her appearance in the title role of Donizetti's "Lucia di Lammermoor" opposite Carlo Bergonzi's Edgardo in January of 1965. In the 1960s, Moffo also began appearing occasionally in Italian films, including feisty roles in the Napoleonic war epic The Battle of Austerlitz (1960) with Rossano Brazzi; the comedy La serva padrona (1964), directed by husband Lanfranchi; Menage all'italiana (1965) [Menage, Italian Style] co-starring Ugo Tognazzi; and the comedy Il divorzio (1970) [The Divorce]. She also filmed her Violette in La Traviata (1967) and Lucia di Lammermoor (1971), both directed by Lanfranchi.
The multiple Grammy-nominated Moffo's singing career was finished when just in her 40s. Taking on too much too soon (she in one year took on 12 new roles), her voice burnt out quickly. Her last regular performance at the Met was received poorly as Violetta in 1976, her voice having fallen into a serious state of disrepair. She did return briefly for a one-time duet with baritone Robert Merrill in the company's centennial gala. Her marriage to Lanfranchi ended in divorce in 1972, but her second marriage to NBC broadcast executive/RCA chairman Robert Sarnoff in 1974 proved more durable and lasted until his death in 1997. Her later years were dogged by illness. Battling breast cancer for almost a decade, Moffo died of a stroke at age 73 on March 10, 2006, in New York City. She had no children of her own but was survived by three stepchildren.- Actress
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Dame Anna Neagle, the endearingly popular British star during WWII, was born Florence Marjorie Robertson and began dancing as a professional in chorus lines at age 14. She starred with actor Jack Buchanan in the musical "Stand Up and Sing" in the West End and earned her big break when producer/director Herbert Wilcox, who had caught the show purposely to consider Buchanan for an upcoming film, was also taken (and smitten) by Anna, casting her as well in the process. Thus began one of the most exclusive and successful partnerships in the British cinema.
Under Wilcox's guidance (they married in 1943), Anna became one of the biggest and brightest celebrities of her time. Always considered an actress of limited abilities, the lovely Anna nevertheless would prove to be a sensational box-office commodity for nearly two decades. She added glamour and sophistication for war-torn London audiences and her lightweight musicals, comedies and even costumed historical dramas provided a nicely balanced escape route. The tasteful, ladylike heroines she portrayed included nurses Edith Cavell and Florence Nightingale, flyer Amy Johnson and undercover spy Odette; Nell Gwyn and Queen Victoria also fell within her grasp. She appeared in a number of frothy post-war retreads co-starring Michael Wilding that the critics turned their noses on but the audiences ate up - including They Met at Midnight (1946), Katy's Love Affair (1947), Spring in Park Lane (1948) and The Lady with a Lamp (1951). She tried to extend her fame to Hollywood and briefly appeared there in three musicals in the early 40s, but failed to make a dent. Anna's appeal faded somewhat in the late 50s and, after producing a few film efforts, retired altogether from the screen.
She returned to her theatre roots, which culminated in the long-running "Charlie Girl", a 1965 production that ran with Anna for nearly six years. She was bestowed with the honor of Dame of the British Empire in 1969 for her contributions to the theatre. Anna continued to perform after her husband's death in 1977, later developing Parkinson's disease in her final years. She died in 1986 of complications.- Actress
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At age 16, Annabella was chosen by Abel Gance to appear in Napoleon (1927). In the 30s, she became a star of French movies. She made movies in numerous other countries, before being called to Hollywood in 1938, where she met and married Tyrone Power. She remained in the USA until 1947. Then she attempted a comeback in France. She retired from show business in 1954.- Actress
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Anne Francis got into show business quite early in life. She was born on September 16, 1930 in Ossining, New York (which is near Sing Sing prison), the only child of Phillip Ward Francis, a businessman/salesman, and the former Edith Albertson. A natural little beauty, she became a John Robert Powers model at age 6(!) and swiftly moved into radio soap work and television in New York. By age 11, she was making her stage debut on Broadway playing the child version of Gertrude Lawrence in the star's 1941 hit vehicle "Lady in the Dark". During this productive time, she attended New York's Professional Children's School.
Metro-Goldwyn-Mayer put the lovely, blue-eyed, wavy-blonde hopeful under contract during the post-war World War II years. While Anne appeared in a couple of obscure bobbysoxer bits, nothing much came of it. Frustrated at the standard cheesecake treatment she was receiving in Hollywood, the serious-minded actress trekked back to New York where she appeared to good notice on television's "Golden Age" drama and found some summer stock work on the sly ("My Sister Eileen").
Discovered and signed by 20th Century-Fox's Darryl F. Zanuck after playing a seductive, child-bearing juvenile delinquent in the low budget film So Young, So Bad (1950), Anne soon starred in a number of promising ingénue roles, including Elopement (1951), Lydia Bailey (1952), and Dreamboat (1952) but she still could not seem to rise above the starlet typecast. At MGM, she found promising leading lady work in a few noteworthy 1950s classics: Bad Day at Black Rock (1955); Blackboard Jungle (1955); and the science fiction cult classic Forbidden Planet (1956). While co-starring with Hollywood's hunkiest best, including Paul Newman, Dale Robertson, Glenn Ford and Cornel Wilde, her roles still emphasized more her glam appeal than her acting capabilities. In the 1960s, Anne began refocusing strongly on the smaller screen, finding a comfortable niche on television series. She found a most appreciative audience in two classic The Twilight Zone (1959) episodes and then as a self-sufficient, Emma Peel-like detective in Aaron Spelling's short-lived cult series Honey West (1965), where she combined glamour and a sexy veneer with judo throws, karate chops and trendy fashions. The role earned her a Golden Globe Award and Emmy Award nomination.
The actress returned to films only on occasion, the most controversial being Funny Girl (1968), in which her co-starring role as Barbra Streisand's pal was heartlessly reduced to a glorified cameo. Her gratuitous co-star parts opposite some of filmdom's top comics' in their lesser vehicles -- Jerry Lewis' Hook, Line and Sinker (1969) and Don Knotts' The Love God? (1969) -- did little to show off her talents or upgrade her career. For the next couple of decades, Anne remained a welcome and steadfast presence in a slew of television movies (The Intruders (1970), Haunts of the Very Rich (1972), Little Mo (1978), A Masterpiece of Murder (1986)), usually providing colorful, wisecracking support. She billed herself as Anne Lloyd Francis on occasion in later years.
For such a promising start and with such amazing stamina and longevity, the girl with the sexy beauty mark probably deserved better. Yet in reflection, her output, especially in her character years, has been strong and varied, and her realistic take on the whole Hollywood industry quite balanced. Twice divorced with one daughter from her second marriage, Anne adopted (as a single mother) a girl back in 1970 in California. She has long been involved with a metaphysical-based church, channeling her own thoughts and feelings into the inspirational 1982 book "Voices from Home: An Inner Journey". Later, she has spent more time off-camera and involved in such charitable programs as "Direct Relief", "Angel View" and the "Desert AIDS Project", among others. Her health declined sharply in the final years. Diagnosed with lung cancer in 2007, the actress died on January 2, 2011, from complications of pancreatic cancer in a Santa Barbara (California) retirement home.- Actress
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Slender, strikingly beautiful strawberry blonde Anne Gwynne arrived in Hollywood a typical starry-eyed model looking to for top stardom. Not quite achieving her goal, she did become one of Universal Studio's favorite and revered cover girls while earning notoriety as one of cinema's finest screamers in 40's "B" horror films. She was able to extend her talents to include adventure stories, westerns, film noir and musical comedies before retiring in 1959.
The hazel-eyed beauty was born Marguerite Gwynne Trice in Waco, Texas, on December 18, 1918, the daughter of Pearl (née Guinn) and Jefferson Benjamin Trice, a clothing manufacturer. The family moved to St. Louis, Missouri when she was still a child. Following high school graduation, she studied drama at Stephens College. Accompanying her father to Los Angeles, she stayed and found work in a number of local community productions. She also supplemented her income as a swimsuit model for Catalina. A Universal studio talent agent happened to catch her in one of her theatre endeavors and the 20-year-old was tested and signed up in 1939.
Appearing in a few starlet bit parts as chorus girls or nurse types, Anne quickly earned her first female lead that same year with the western Oklahoma Frontier (1939) opposite cowboy star Johnny Mack Brown and continued on as a gorgeous co-star/second lead for such handsome leading men as Richard Arlen in Man from Montreal (1939); Robert Stack in Men of Texas (1942); she is best remembered, however, as a decorative lure for the monstrous antics of Boris Karloff, Bela Lugosi, and Lon Chaney Jr., among others, in such movie chillers as Black Friday (1940), The Black Cat (1941), The Strange Case of Doctor Rx (1942), Weird Woman (1944), House of Frankenstein (1944) and Murder in the Blue Room (1944).
Anne certainly had the looks and talent but not the luck, seldom rising above second-string film fare. She nevertheless proved quite popular with the servicemen as a WWII wall pin-up and, as with many other lovely actresses, found TV and commercials to be viable mediums for her as her film career waned. She, in fact, co-starred in TV's first filmed series, the noirish crime series Public Prosecutor (1947) as D.A. John Howard's legal secretary and guested on such action-filled 50's programs as "Ramar of the Jungle," "Death Valley Days" and "Northwest Passage."
Later sporadic appearances on film included The Blazing Sun (1950), Call of the Klondike (1950) and Breakdown (1952), the last-mentioned effort executive produced by her husband Max M. Gilford. She returned to the horror film fold once more as the star of the quickly dismissed, "poverty row" cult programmer Teenage Monster (1957). Here Anne plays a caring mother whose home is hit by a meteor. This results in the death of her husband and the monstrous mutation of her son. She tries to shield her boy from outside forces to save him. After a decade of retirement, Anne returned to make a brief, matronly appearance in the film Adam at Six A.M. (1970).
Married to Gilford in 1945, the pair had two children. Daughter/actress Gwynne Gilford is married to actor Robert Pine. Her grandson is actor Chris Pine. Anne's health began to deteriorate in the '90s; a widow by this time, she was moved to the Motion Picture Country Home in Woodland Hills, California, where she died of complications from a stroke on March 31, 2003.- Actress
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Befitting her original name (Violet Pretty), the knockout English brunette Anne Heywood won the coveted "Miss Great Britain" beauty title in 1950 at the young age of 17. Born on December 11, 1931, the daughter of a violinist, she originally trained at the London Academy of Music and Dramatic Art. She gained early experience on the stage with the Highbury Players in Birmingham and moved on to some TV work. The Rank Organization caught sight of her and offered the former beauty queen a seven-year contract. During that time, however, she was pretty much relegated to playing 'nice girl' types in the 50s and 60s.
In later career, her film appearances courted controversy and she seemed drawn toward highly troubled, flawed characters. Very popular with Italian audiences, Anne never endeared herself to American film goers although she did stir up some curiosity with one of her more noteworthy films, the pioneer lesbian drama The Fox (1967). Starring Anne with Sandy Dennis, the two were quite believable as an unhappy, isolated couple whose relationship is irreparably shattered by the appearance of a handsome stranger (Keir Dullea). At the height of the movie's publicity, Playboy magazine revealed a "pictorial essay" just prior to its 1967 release with Anne in a nude and auto-erotic spread. The film won a "Best Foreign Film" Golden Globe Award (it was made in Canada) and Anne herself earned a "Best Actress" nod.
Despite being aggressively promoted in its aftermath by husband/producer Raymond Stross, who was instrumental in reshaping her image with such sexy, offbeat dramas as The Night Fighters (1960), The Very Edge (1963), 90 Degrees in the Shade (1965), Midas Run (1969), I Want What I Want (1972) and Good Luck, Miss Wyckoff (1979), Anne has remained a distinct European film product. She last appeared on TV in The Equalizer (1985) series. Following her husband's death in 1988, Anne remarried (to a former New York Assistant Attorney General) and begged away from the camera. The couple settled in Beverly Hills.- Actress
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The ever-lovely, poised and vivacious blonde Anne Jeffreys was born Annie Jeffreys Carmichael in 1923 in Goldsboro, North Carolina. Firmly managed by her mother, she trained in voice at a fairly early age and received her first break in the entertainment field after signing with the John Robert Powers agency in New York as a junior model. In the interim, she prepared herself for an operatic career and made her debut in a production of "La Boheme" in 1940. The following year, however, Anne won a role in the musical review, "Fun for the Money", that was to be staged in Hollywood. This, in turn, led to her first movie role in the tuneful Rodgers & Hart adaptation of I Married an Angel (1942), starring her singing idols, Nelson Eddy and Jeanette MacDonald, in their last cinematic pairing.
Put under contract respectively by Republic then RKO studios, Anne was utilized as a plucky heroine in a flux of 40s "B" westerns and crimers, opposite such stalwarts as Robert Mitchum and Randolph Scott. Also among her roles was the part of "Tess Trueheart" in the "Dick Tracy" series with Morgan Conway as the steel-jawed hero, and a co-star role opposite Frank Sinatra in the war-era musical, Step Lively (1944). None of these, however, were able to propel her into the "A" ranks and her film career quickly dissipated by the end of the 40s. In the meantime, Anne continued to prod her vocal skills with symphonic and stage appearances, including "Tosca" at the Brooklyn Opera House, Kurt Weill's "Street Scene" and the Broadway musical, "My Romance".
After her first marriage was annulled in 1949, Anne met handsome actor Robert Sterling during an extended run (887 performances) of "Kiss Me Kate" on Broadway. She and Sterling married in 1951 and had three sons. In an attempt to revive their flagging careers, the singing couple toured nighteries and hotels in the early 1950s with a highly successful club act. This led to them being cast as sly, engagingly cavalier spirits in the classic Topper (1953) sitcom. Anne played "Marion Kirby" ("the ghostess with the mostest"), alongside Sterling's dapper husband, George Kirby. Successfully, undertaking the ectoplasmic roles originated on film by Constance Bennett and Cary Grant, the two were an absolute hit as the party-hearty ghosts who reclaim their home, to the dismay of current owner Leo G. Carroll.
Anne and Robert weren't able to recreate that same kind of magic when they subsequently co-starred in the short-lived series, Love That Jill (1958). In the 1960s, Anne semi-retired to raise her family, but occasionally took on musical leads ("Camelot", "The King and I") both on Broadway and in regional productions. She later returned full-time to TV and became known for her chic, gregarious, sometimes double-dealing matrons on soap operas (Bright Promise (1969) and General Hospital (1972)). She was nominated for a Golden Globe award for her supporting work in The Delphi Bureau (1972) adventure series, and appeared, occasionally, as the mother of David Hasselhoff on Baywatch (1989). Unlike her husband, who retired decades ago (he died in 2006), Anne remained a tireless performer past age 80. She was recognized over the years for her civic and humanitarian efforts and remained a vibrant presence of "Golden Age" Hollywood society until her death at age 94 on September 27, 2017 in Los Angeles.- Veteran character actress Anne Revere became another in the long line of talented artists whose careers would crash under the weight of the "Red Scare" hysteria that tore through Hollywood in the 1940s and 1950s. Born in Manhattan and a direct descendant of Revolutionary War figure Paul Revere, Anne graduated from Wellesley College, then trained for the stage at the American Laboratory Theatre.
She made her Broadway bow in 1931 with "The Great Barrington" and her film debut in a version of another Broadway play, Double Door (1934). Returning to Broadway after receiving no other film offers, she would not make another movie until 1940...then she stayed. She went on to epitomize the warm, wise and invariably stoic mother to a number of great "golden age" stars, her understated power and intensity capturing the hearts of critics and war-torn audiences alike. Her plain, freckled, careworn looks appeared equally at home on the frontier or in a tenement setting. Anne was nominated three times for an Oscar for her strong, matriarchal figures -- as Jennifer Jones' mother in The Song of Bernadette (1943), Elizabeth Taylor's in National Velvet (1944) and Gregory Peck's in Gentleman's Agreement (1947), winning the Oscar on her second try for National Velvet (1944).
A versatile talent, she extended her range to include a number of brittle, neurotic and even crazy ladies. This all ended abruptly in 1951 when her name appeared as one of 300 on the infamous "Hollywood blacklist". She had just completed a major role as Montgomery Clift's Salvation Army mom in A Place in the Sun (1951). She stood on her Fifth Amendment rights before the Communist-obsessed House Un-American Activities Committee and, as a result, her part in that film was reduced to a glorified cameo. She did not appear in another film for nearly 20 years (a starring role in a new TV series was also taken from her).
In the interim, she and husband Samuel Rosen, a stage actor, writer and director, ran an acting school in Los Angeles before relocating to New York, where she managed to find employment in stock productions and under the Broadway lights. She received the Tony Award during the 1960-1961 season for her fine portrayal of a spinster sister in Lillian Hellman's "Toys in the Attic," a part that went to British actress Wendy Hiller when it transferred to film. TV jobs began coming her way again in the mid-1960s, and by 1970 she was working sporadically on such daytime soaps as Search for Tomorrow (1951) and Ryan's Hope (1975). She appeared briefly in Tell Me That You Love Me, Junie Moon (1970) starring Liza Minnelli, and then earned a showier part in Birch Interval (1976).
Anne passed away after contracting pneumonia at age 87 and was survived by a sister. She had no children. Although a victim of "Cold War" paranoia, she always persevered, showing the same kind of grit and courage that embodied her gallery of characters on film. - The daughter of a copper expert (William Stanley Eckert) and an actress and museum curator (May Davenport), character actress Anne Seymour was born on September 11, 1909 in New York City. She was the seventh generation of a theatrical family that could be tracked back to Ireland in 1740. Her great-uncle was the popular character actor Harry Davenport and her two older brothers were writer James Seymour (42nd Street (1933)) and actor John Seymour (The Sporting Club (1971)).
Anne trained for the stage at the American Laboratory Theatre School with Richard Boleslawski and Maria Ouspenskaya, and began her career performing with The Jitney Players. She, as did her brothers, eventually changed her stage moniker from Eckert to her mother's maiden name of Seymour. After touring throughout New England, Anne made her New York debut in Mr. Moneypenny in 1928. Other Broadway shows followed including At the Bottom (1930) and A School for Scandal (1931). The following year, she entered the world of radio drama. Her distinctively warm style and vocal timbre were perfect for playing some of radio's noblest, self-sacrificing heroines. She portrayed "Mary Marlin" for 11 popular seasons; it turned out to be her most identifiable role.
In the late 1940s Anne switched to film and made an auspicious debut as Lucy Stark in the Oscar-winning picture All the King's Men (1949). Although movie appearances would remain sporadic and relatively minor, Anne was a solid, capable player during the golden age of television and could be seen dressing up many glossy dramas, including Studio One (1948) and Robert Montgomery Presents (1950). Her rather hawkish, matronly features, which seemed in stark contrast to her smooth, modulated tones, nevertheless had her primarily playing benevolent roles as concerned relatives and professionals somewhat in the background.
In 1958, Anne earned strong marks for her portrayal of Sara Delano Roosevelt alongside Tony-winning Ralph Bellamy's FDR in "Sunrise at Campobello" on Broadway. She lost the 1960 movie role to Ann Shoemaker. Anne was actively involved on the SAG and AFTRA boards throughout a good portion of her career. Unmarried, she died in 1988 of natural causes after completing a small part in the popular film Field of Dreams (1989). - Actress
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They didn't come packaged any sweeter or lovelier than Anne Shirley, a gentle and gracious 1930s teen film actress who didn't quite reach the zenith of front-rank stardom and retired all too soon at age 26. On film as a toddler, she went through a small revolving door of marquee names before legally settling (at age 16) on the name Anne Shirley, the name of her schoolgirl heroine in Anne's most famous film of all -- Anne of Green Gables (1934).
Manhattan-born Anne was christened Dawn Evelyeen Paris on April 17, 1918. Her father died while she was still a baby, and she and her widowed mother lived a very meager New York existence at first. At the age of 16 months, the child was already contributing to the household finances as a photographer's model, using sundry different monikers, including Lenn Fondre, Lindley Dawn and Dawn O'Day. With this source of monetary inspiration, her mother sought work for her daughter in films as well, and at the age of 4, Anne (billed as Dawn O'Day) made her first feature with The Hidden Woman (1922). She showed enough promise in the film Moonshine Valley (1922), as a young girl who manages to reunite her separated parents, that she and her mother made a permanent move from New York to California. Scarce work for such a young child, but Anne managed to find it with minor roles in The Rustle of Silk (1923) and The Spanish Dancer (1923) for Paramount Pictures. During her adolescence she often appeared as the leading stars' daughter in films such as Mother Knows Best (1928) with Madge Bellamy, Sins of the Fathers (1928) starring Jean Arthur and Liliom (1930) with Charles Farrell. Oftentimes she would play the female star of the film as a child, such as Janet Gaynor's in 4 Devils (1928), Frances Dee's in Rich Man's Folly (1931) and Barbara Stanwyck's in So Big! (1932).
After a rash of unbilled parts, Anne was used by Vitaphone for a series of 1930s short subjects. By her teen years she had developed before the very eyes of Hollywood into a petite and lovely young brunette. Casting agents took notice. Following roles in Rasputin and the Empress (1932) with the three Barrymores and The Life of Jimmy Dolan (1933) starring Douglas Fairbanks Jr. and Loretta Young, Anne was tested among hundreds of young aspirants and captured the role of Anne Shirley in Lucy Maud Montgomery's classic novel Anne of Green Gables (1934), imbuing the character with all the spirit and charm (not to mention talent) necessary. She officially became a teen celebrity after changing her moniker for the final time in conjunction with the release of the film.
Prominent misty-eyed ingénue leads came her way as a result of playing a swamp girl in Steamboat Round the Bend (1935) alongside Will Rogers and in M'Liss (1936) opposite John Beal, but her resume became littered with meek B-level comedies and weak dramas, such as Chasing Yesterday (1935), Too Many Wives (1937) and Meet the Missus (1937), that did little to advance her career. Finally at age 19, she found a role to match her "Green Gables" success playing Barbara Stanwyck's daughter in the classic weeper Stella Dallas (1937). The interaction between the two was magical, and both Barbara and Anne were nominated for Oscars (Anne in the supporting category) for their superb portrayals . Both lost, however, to Luise Rainer and Alice Brady, respectively.
During this time of major success, Anne met and eventually married actor John Payne in 1937. The popular Hollywood couple had one child, Julie Payne, who became an actress for a time in the 1970s. Her subsequent career was full of promise, but with every quality picture bestowed upon her, such as Vigil in the Night (1940) and The Devil and Daniel Webster (1941), came a faltering one that hurt her career, including Career (1939) and West Point Widow (1941). Especially disappointing was her long-anticipated "Green Gables" sequel Anne of Windy Poplars (1940), which received very lackluster reviews.
The still-young actress finished on top, however, opposite Dick Powell in the classic movie mystery Murder, My Sweet (1944). Divorced from John Payne in 1943 and tiring of the Hollywood rat race she had endured since a child, however, Anne decided to end her career after her second marriage, to the movie's producer Adrian Scott, in 1945. Never an ambitious actress, Anne stayed with her career as long as she did primarily to please her mother. Her three-year marriage to Scott was unable to withstand the legal troubles of her husband's 1947 blacklisting (he was one of the "Hollywood 10" imprisoned during the McCarthy era for his communist affiliations). Her 1949 marriage to screenwriter Charles Lederer, the nephew of actress Marion Davies, was her longest and most fulfilling. Their son, Daniel, was born the following year. He inherited his father's writing talent and grew up to become a poet.
Never tempted to resume her career at any time, she remained a charming and gracious socialite in the Hollywood circle. A painter on the side, she at one point entertained the thought of becoming a behind-the-scenes worker, such as a dialogue coach, but it was never pursued aggressively. Her husband's sudden death in 1976 triggered a severe emotional crisis for Anne, who turned for a time to alcohol. Recovered, she lived the rest of her life completely out of the limelight, dying in 1993 of lung cancer at age 75. Her granddaughter by daughter Julie (via her marriage to screenwriter Robert Towne) is the actress Katharine Towne, who has appeared in such films as Mulholland Drive (2001).
Not as well remembered as an actress of her award-worthy caliber should be, perhaps had Anne Shirley given Hollywood a longer tryout and added a bit more bite to her rather benign, sweetly sentimental image, her star would be brighter today. Nevertheless, her film work has unarguably brightened the silver screen.- Gallic Actress Anne Vernon, who was born Edith Antoinette Alexandrine Vignaud in Saint-Denis, France, in January 1924, is not well known outside of Europe. Following graduation from the Paris Ecole des Beaux Arts, she found work as a model and apprenticed with an advertising designer. Developing an interest in acting, she subsequently toured with a French theatre group before embarking on a movie career. Glamorous leading lady roles came her way beginning in 1948, particularly in light post-war romantic souffles and farcical comedies where she sweetly played ingénues both English-speaking (Warning to Wantons (1949)) and non-English speaking (Edward and Caroline (1951)). Capable of tense dramatic roles as well, she made only one Hollywood film during her career, playing second femme lead in the film noir Shakedown (1950) with Howard Duff and Peggy Dow.
Audiences might recognize her from the British films Terror on a Train (1953) [aka Terror on a Train] as a bomb defuser Glenn Ford's wife, and the mild comedy The Love Lottery (1954), as part of a love triangle with David Niven and Peggy Cummins. For the most part, however, Anne stayed on French/Italian soil appearing opposite such dashing leading men as Daniel Gélin, Vittorio Gassman and Jean Marais. In the 1960s she matured into chic, maternal roles, most noticeably as Catherine Deneuve's cautious, concerned mother in The Umbrellas of Cherbourg (1964) [The Umbrellas of Cherbourg]. Surprisingly, she also had a role in the notorious soft-core lesbian flick Therese and Isabelle (1968). Following some TV work in the early 1970s, she gently phased out her career. - Pouty-lipped, kittenish Annette Stroyberg was best known, and briefly known, as the sexy young nubile blonde who replaced bombshell Brigitte Bardot in the late 1950s as the wife and object of exploitation of Svengali-like French director Roger Vadim. Possessing Bardot's similar erotic balance of melancholy and fragility within her Lolita-like stunning looks, Vadim married Annette in June of 1958. Billing her as Annette Vadim, he was unable, however, to recreate the same Bardot magic and their marriage and her career quickly fell by the wasteside.
The beautiful Stroyberg was born on the island of Fyn, in Denmark, on December 7, 1936. Her father was a physician who died when she was quite young. She and her sister then moved to Copenhagen where she was raised. She found her way to Paris in her late teens where she worked at couture houses as a model, later finding employment with such fashion notables as Chanel. Annette hooked up with Vadim during the filming of his legendary first feature ...And God Created Woman (1956), the movie that catapulted BB to mythic status. When BB started up a heated affair with young co-star Jean-Louis Trintignant, Vadim moved in with Annette, who subsequently gave birth to their daughter Nathalie Vadim in 1957. Vadim then proceeded to build and groom a replica of BB with Stroyberg. Her biggest chance for fame was when he put her on display in the film of the classic novel Dangerous Liaisons (1959) as Marianne de Tourvel, the virtuous victim of the evil Jeanne Moreau and Gérard Philipe. Making her debut, Annette was stunning, of course but found herself quite outclassed by her cast, hardly ready for such a demanding role. She earned far more recognition when Vadim cast her as a society girl-cum-lesbian vampire Carmilla (catch the cozy scene with "victim" Elsa Martinelli) in the exploitive Blood and Roses (1960). By the time of the film's release, however, her marriage to Vadim was history. He had moved on to try and conquer underage actress Catherine Deneuve and she put designs on guitarist Sacha Distel.
Annette subsequently packed her bags for Italy where she made a few unmemorable pictures, reverting to her maiden name of Stroyberg on the marquee boards. In between she managed to amass a number of love affairs with such available (and unavailable) playboy actors as Vittorio Gassman, her co-star in Roberto Rossellini's Anima nera (1962), Alain Delon, Omar Sharif and Warren Beatty. Her last film was Lo scippo (1965). Giving up on her career, she turned socialite and married Moroccan sugar king Guy Senouf in 1967, dividing her time between Paris and Africa. The couple had a son, Yan, but this marriage, like her first, was short-lived. In 1974 she married Gregory Callimanopulos, a Greek shipping magnate, and settled for a time in America. They had a son, Peri Callimanopulos. She returned to Europe after their divorce in the early 1990s and married a fourth time to lawyer Christian Lillelund. Stroyberg died at age 69 of cancer on December 12, 2005, and was survived by her husband and three children. - 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.
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This dark, debonair, dashing and extremely distinguished Austrian actor was christened Adolf Wohlbrück in Vienna, the scion of a family of circus clowns. He broke away easily from generations of tradition as the circus life had no appeal whatsoever to Walbrook.
Trained by the legendary director Max Reinhardt, Walbrook's reputation grew on both the Austrian and German stages. In between he managed a couple of undistinguished roles in silent films. Billed as Adolf Wohlbrück, the youthfully handsome actor graced a number of romantic films come the advent of sound beginning in 1931. Among them Waltz War (1933) and the gender-bending comedy Victor and Victoria (1933), which later served as the inspiration and basis for Blake Edwards' own Victor/Victoria (1982) starring wife Julie Andrews. Hollywood beckoned in the late 30s for Walbrook to re-shoot dialog for an upcoming international picture The Soldier and the Lady (1937) again playing Michael Strogoff, a role he had played impeccably in both previous French and German adaptations. With the rise of oppression in Nazi Germany he moved to Great Britain and took his trademark mustache and dark, handsome features to English language films where he went on to appear to great effect.
Portraying a host of imperious kings, bon vivants and and foreign dignitaries over the course of his career, he played everything from composer Johann Strauss to the Bavarian King Ludwig I. With a tendency for grand, intense, over-the-top acting, he was nevertheless quite impressive in a number of portrayals. Such included the sympathetic German officer in the landmark Powell and Pressburger satire The Life and Death of Colonel Blimp (1943) and gentle pacifist in another of their collaborations 49th Parallel (1941); as Prince Albert in the black-and-white glossy costumer Victoria the Great (1937) immediately followed by its color remake Queen of Destiny (1938) both opposite Anna Neagle's Queen Victoria; and, most notably, as the obsessively demanding impresario opposite ballerina Moira Shearer in the romantic melodrama The Red Shoes (1948). His stiff and stern military officers were just as notable which included sterling work in The Queen of Spades (1949) and last-speaking English film I Accuse! (1958).
He retired from films at the end of the 1950s, and in later years returned to the European stage and included television roles to his resume. He died in Germany in 1967 of a heart attack.- Actress
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This pert and pretty number was probably better known for her not-so-private off-camera escapades than for her commendable "B" work as a light comedienne in 30s and 40s films. Nevertheless, actress Arline Judge enlivened a number of them with her blue-eyed, brunette beauty and colorful characterizations. Her numerous marriages and divorces (8) equaled that of the more notable Hollywood husband-hunter Lana Turner. She topped Ms. Turner only if you consider that Arline married 8 different men; Lana's eight marriages included one remarriage (to actor Stephen Crane). The two ladies even shared an ex-husband!
Connecticut-born Arline arrived on February 21, 1912. Her father, a newspaperman, moved his family to New York City while Arline was still young. She was eventually enrolled at the Ursuline Academy in the Bronx where, among other things, she studied dance. Briefly working in vaudeville, nightclubs and other New York musical shows, the petite-framed, eye-catching chorine was noticed for films in 1930 by an RKO talent agent who spotted her in the Broadway revue "The Second Little Show," and signed.
Arline made her film debut with a flashy bit part in Bachelor Apartment (1931). After appearing fairly non-descriptively in An American Tragedy (1931) and Three Who Loved (1931), among others, she finally had people taking notice of her as a tawdry good-time girl in Are These Our Children (1931). 1931 also marked the year of marriage #1 to Wesley Ruggles, nearly 24 years her senior (she was 19; he was 42), who directed her in the afore-mentioned movie. She subsequently gave birth to their son Wesley, Jr. Nicknamed "One-Take Sally", Arline proved adaptable at both snappy comedy and teary drama, easily alternating her services between a wacky Wheeler and Woolsey farce such as Girl Crazy (1932) or Helen Twelvetrees weepie such as Young Bride (1932). Her characters were often more trouble than they were worth as her scheming waitress in Is My Face Red? (1932) and adulterous wife in Flying Devils (1933) can attest.
After losing her RKO contract in 1933, Arline freelanced with lesser studios as various suspiciously-motivated ladies and was often cast for amusement. She enjoyed her many couplings with comic actor Jack Oakie in Looking for Trouble (1934), Shoot the Works (1934) and King of Burlesque (1936), and also worked time and again with her husband in the films Roar of the Dragon (1932), Shoot the Works (1934)Valiant Is the Word for Carrie (1936). Arline could always be counted on to sparkle up lightweight comedy material such as College Scandal (1935), Here Comes Trouble (1936) and, the Sonja Henie capade One in a Million (1936) with her trademark effervescence.
Divorced from Ruggles by 1937, she immediately got caught up in a tabloid triangle that resulted in marriage #2 (only hours after her divorce was finalized) with one of her battling beaus, Daniel Reid Topping, owner of football's Brooklyn Dodgers. This marriage to Topping, who in 1945 (after their 1940 divorce) co-purchased the New York Yankees, lasted about two years and produced another son, Daniel, Jr. Marriage #3 less than a month and came in the form of hotel executive James Bryant.
The trials and tribulations of Arline's hectic private life took up a lot of time and severely hampered the momentum of her film career. Five years after her last movie, she finally resurfaced again in the uneventful comedy Harvard, Here I Come! (1941), which led to a few war-era "B" and "C" rankers including The Lady Is Willing (1942), Song of Texas (1943), G.I. Honeymoon (1945) and From This Day Forward (1946). A bit part as a manicurist in the Harold Lloyd comedy The Sin of Harold Diddlebock (1947) (aka _Mad Wednesday) ended her 1940s movie run. In between there an eight-day marriage #4 to Royal Air Force Captain James Adams in 1942; a slightly longer marriage #5 to ad exec Vincent Morgan Ryan in 1945); and marriage #6 to wealthy sportsman Henry (Bob) Topping, brother of second husband Daniel. After her second Topping family divorce, Henry went on to marry Lana Turner. Marriage #7 was to insurance man George Ross III (1949-1950), and marriage #8 in 1955 to Beverly Hills inventor Edward Cooper Heard, her final union ending a lengthy (for her) 5 years.
Interspersed with all this marriage mayhem were some isolated TV guest roles in the 50s and early 60s in such series as "Perry Mason" and a final leap back in films as the mom of William Wellman Jr. in the poorly acted drama A Swingin' Summer (1965), which included surf music (!), and a role as one of the strangling victims of The Crawling Hand (1963), a low-grade horror opus.
By the mid-60s Arline had given up on pursuing both career (save a few commercials) and husbands. She lived out her final years in her West Hollywood digs and was found dead of natural causes ("aspiration of gastric contents") on February 7, 1974, just shy of her 62nd birthday . She was survived by her two sons and buried in her home state of Connecticut.- Actor
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A show-stopping comic for decades, the inimitable Arnold Stang, with the trademark Runyonesque voice and thick, black glasses, started out famously on radio before branching out to include Broadway, films and especially TV. Born on September 28, 1918, in New York City (for decades he himself perpetuated the myth of being born in 1925 in Chelsea, Massachusetts), he was the son of a lawyer. Following the 1929 stock market crash, his father was forced to look elsewhere for work and managed a living as a salesman. The scrawny kid from Manhattan grew up in Brooklyn and attended New Utrecht High School.
During his teen years (early 1930s) he auditioned for and won roles on radio's "Horn and Hardart's Children's Hour," a variety show, and the kiddie program "Let's Pretend," which set off a two-decade stint as one of radio's most popular vocal personalities. His squawky, unmistakable voice was heard as Jughead in the "Archie Andrews" series and as neighbor Seymour Fingerhood on the beloved, Bronx-styled Gertrude Berg classic "The Goldbergs," among others. He even appeared in radio soap operas and mysteries on occasion, often providing comedy relief. A reliable and feisty second banana, he traded quips with the best of them: Eddie Cantor; Jack Benny; Fred Allen; Fanny Brice; Milton Berle, you name it.
In between radio work Stang could sometimes be seen on the stage, his first legitimate play being on Broadway with the short-lived "All In Favour" (1942). This was followed by "You'll See Stars" at the end of that same year. He subsequently moved from radio to TV with the help of Milton Berle in the late 1940s and eventually found a very comfortable niche in comedy as a foil to the big stars. On the satirical Henry Morgan's Great Talent Hunt (1951), he was a regular member of Henry Morgan's stock company as a nerdy teen named Gerard. Plain, plucky but rather sad-sack, his puny-looking nerd types (5'3" and not much over 100 pounds) seemed to beg to have sand kicked in their faces. Yet, as much as they could be pushed around, they often displayed stubborn, delinquent-like streaks and could be mighty pesky in nature and irritating to the nth degree.
Stang also lent his vocal talents quite successfully to cartoon voiceovers beginning with Popeye the Sailor's pal Shorty. He later moved into a lengthy hitch as "Hoiman" the mouse in Paramount's popular "Herman and Katnip" series, but his best known animal character, of course, came later with the title role in Joseph Barbera - William Hanna 1961 classic cartoon series Top Cat (1961). His playing of "T.C", the slick, smart-alecky, Brooklynesque mastermind behind a gang of alley cats, was very reminiscent of Phil Silvers' Sgt. Bilko character from The Phil Silvers Show (1955).
Film work for Stang would be very sporadic over the years providing secondary but stalwart support in such escapism as Seven Days' Leave (1942), My Sister Eileen (1942), Let's Go Steady (1945), Two Gals and a Guy (1951) and the all-star epic It's a Mad Mad Mad Mad World (1963). Stang's best featured part was a rare dramatic role opposite Frank Sinatra in the then-daring topical movie about drug addiction entitled The Man with the Golden Arm (1955). Here he played Frank Sinatra's seedy but loyal pal Sparrow, a role that easily could have influenced Dustin Hoffman when he created his Ratso Rizzo character a decade and a half later in Midnight Cowboy (1969).
From the 1950s, the bespectacled comedian would be a steadfast TV commercial spokesman pitching such products as Delco, Chunky candy ("Chunky...what a chunk o' chocolate!") and Orkin ("Stop squawkin', call Orkin!") using his own, unique style. As for the stage, a few of his later stints included the 1969 Broadway remake of "The Front Page," the role of Hysterium in a production of "A Funny Thing Happened on the Way to the Forum," and a part in Woody Allen's "Play It Again, Sam". The owlish comedian continued acting into the 90s with small roles in such movies as Ghost Dad (1990) and Dennis the Menace (1993).
Long married (since 1949) to wife JoAnn Taggart, a writer, Stang died of pneumonia at age 91 in Newton, Massachusetts, just before Christmas in 2009. He was also survived by his two children, David Donald and Deborah Jane.