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Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).
Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.
With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.
In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).
In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.- Actor
- Producer
- Director
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.- Actress
- Soundtrack
Olivia Mary de Havilland was born on July 1, 1916 in Tokyo, Japan to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her sister Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California.
After graduating from high school, where she fell prey to the acting bug, Olivia enrolled in Mills College in Oakland, where she participated in the school play "A Midsummer Night's Dream" and was spotted by Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (1935), Alibi Ike (1935), and Captain Blood (1935), this last with the man with whom her career would be most closely identified: heartthrob Errol Flynn. He and Olivia starred together in eight films during their careers. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (1939). Playing sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel.
After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown in Hold Back the Dawn (1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (1941). After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she needed to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said that not only would Olivia not need to make up the time, but also that all performers would be limited to a seven-year contract that would include any suspensions handed down. This became known as the "de Havilland decision": no longer could studios treat their performers as chattel. Olivia returned to the screen in 1946 and made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her: To Each His Own (1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s.
In 1948 she turned in another strong showing in The Snake Pit (1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (1949). After a three-year hiatus, Olivia returned to star in My Cousin Rachel (1952). From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. Her last screen appearance was in The Fifth Musketeer (1979), and her last career appearance was in the TV movie The Woman He Loved (1988).
Her turbulent relationship with her only sibling, Joan Fontaine, was press fodder for many decades; the two were reported as having been permanently estranged since their mother's death in 1975, when Joan claimed that she had not been invited to the memorial service, which she only managed to hold off until she could arrive by threatening to go public. Joan also wrote in her memoir that her elder sister had been physically, psychologically, and emotionally abusive when they were young. And the iconic photo of Joan with her hand outstretched to congratulate Olivia backstage after the latter's first Oscar win and Olivia ignoring it because she was peeved by a comment Joan had made about Olivia's new husband, Marcus Goodrich, remained part of Hollywood lore for many years.
Nonetheless, late in life, Fontaine gave an interview in which she serenely denied any and all claims of an estrangement from her sister. When a reporter asked Joan if she and Olivia were friends, she replied, "Of course!" The reporter responded that rumors to the contrary must have been sensationalism and she replied, "Oh, right--they have to. Two nice girls liking each other isn't copy." Asked if she and Olivia were in communication and spoke to each other, Joan replied "Absolutely." When asked if there ever had been a time when the two did not get along to the point where they wouldn't speak with one another, Joan replied, again, "Never. Never. There is not a word of truth about that." When asked why people believe it, she replied "Oh, I have no idea. It's just something to say ... Oh, it's terrible." When asked if she had seen Olivia over the years, she replied, "I've seen her in Paris. And she came to my apartment in New York often." The reporter stated that all this was a nice thing to hear. Joan then stated, "Let me just say, Olivia and I have never had a quarrel. We have never had any dissatisfaction. We have never had hard words. And all this is press." Joan died in 2013.
During the hoopla surrounding the 50th anniversary of GWTW in 1989, Olivia graciously declined requests for all interviews as the last of the four main stars. She enjoyed a quiet retirement in Paris, France, where she resided for many decades, and where she died on 26 July, 2020, at the age of 104.
As well as being the last surviving major cast member of some of cinema's most beloved pre-war and wartime film classics (including The Adventures of Robin Hood (1938) and Gone with the Wind (1939)), and one of the longest-lived major stars in film history, Olivia de Havilland was unquestionably the last surviving iconic figure from the peak of Hollywood's golden era during the late 1930s, and her passing truly marked the end of an era.- Actor
- Producer
- Soundtrack
Legendary actor Glenn Ford was born Gwyllyn Samuel Newton Ford in Sainte-Christine-d'Auvergne, Quebec, Canada, to Hannah Wood (Mitchell) and Newton Ford, a railroad executive. His family moved to Santa Monica, California when he was eight years old. His acting career began with plays at high school, followed by acting in West Coast, a traveling theater company.
Ford was discovered in 1939 by Tom Moore, a talent scout for 20th Century Fox. He subsequently signed a contract with Columbia Pictures the same year. Ford's contract with Columbia marked a significant departure in that studio's successful business model. Columbia's boss, Harry Cohn, had spent decades observing other studios'-most notably Warner Brothers-troubles with their contract stars and had built his poverty-row studio around their loan-outs. Basically, major studios would use Columbia as a penalty box for unruly behavior-usually salary demands or work refusals. The cunning Cohn usually assigned these stars (his little studio could not normally afford then) into pictures, and the studio's status rose immensely as the 1930s progressed. Understandably, Cohn had long resisted developing his own stable of contract stars (he'd first hired Peter Lorre in 1934 but didn't know what to do with him) but had relented in the late 1930s, first adding Rosalind Russell, then signing Ford and fellow newcomer William Holden. Cohn reasoned that the two prospects could be used interchangeably, should one become troublesome. Although often competing for the same parts, Ford and Holden became good friends. Their careers would roughly parallel each other through the 1940s, until Holden became a superstar through his remarkable association with director Billy Wilder in the 1950s.
Ford made his official debut in Fox's Heaven with a Barbed Wire Fence (1939), and continued working in various small roles throughout the 1940s until his movie career was interrupted to join the Marines in World War II. Ford continued his military career in the Naval Reserve well into the Vietnam War, achieving the rank of captain. In 1943 Ford married legendary tap dancer Eleanor Powell, and had one son, Peter Ford. Like many actors returning to Hollywood after the war (including James Stewart and Holden (who had already acquired a serious alcohol problem), he found it initially difficult to regain his career momentum. He was able to resume his movie career with the help of Bette Davis, who gave him his first postwar break in the 1946 movie A Stolen Life (1946). However, it was not until his acclaimed performance in a 1946 classic film noir, Gilda (1946), with Rita Hayworth, that he became a major star and one of the the most popular actors of his time. He scored big with the film noir classics The Big Heat (1953) and Blackboard Jungle (1955), and was usually been cast as a calm and collected everyday-hero, showing courage under pressure. Ford continued to make many notable films during his prestigious 50-year movie career, but he is best known for his fine westerns such as 3:10 to Yuma (1957) and The Rounders (1965). Ford pulled a hugely entertaining turn in The Sheepman (1958) and many more fine films. In the 1970s, Ford made his television debut in the controversial The Brotherhood of the Bell (1970) and appeared in two fondly remembered television series: Cade's County (1971) and The Family Holvak (1975). During the 1980s and 1990s, Ford limited his appearance to documentaries and occasional films, including a nice cameo in Superman (1978).
Glenn Ford is remembered fondly by his fans for his more than 100 excellent films and his charismatic silver screen presence.- Born to George & Frances Simonson Walter, and named Sterling Relyea Walter. Father died in 1925. Adopted by stepfather 'James Hayden' renamed Sterling Walter Hayden. Grew up in New Hampshire, Massachusetts, Pennsylvania, Washington D.C., and Maine. Though very poor, attended prep school at Wassookeag School in Dexter, Maine. Ran away to sea at 17, first as ship's boy, then as doryman on the Grand Banks, as a seaman and fireman on numerous vessels before getting his first command at 19. He sailed around the world a number of times, becoming a well-known and highly respected ship's captain. At urging of friends, met with producer Edward H. Griffith who signs him to a Paramount contract. Fell for his first leading lady, Madeleine Carroll, and married her. Prior to Pearl Harbor, abandoned Hollywood to become a commando with the COI (later the OSS). Joined Marines under pseudonym "John Hamilton" (a name he never acts under), eventually running guns and supplies to Yugoslav partisans through the German blockade of the Adriatic, as well as parachuting into Croatia for guerrilla activities. Won Silver Star and citation from Tito of Yugoslavia. Briefly flirted with Communist Party membership due to friendship with Yugoslav Communists. Returned to film work, which he despised, in order to pay for a succession of sailing vessels. As Red Scare deepens in U.S., he cooperated with the House Un-American Activities Committee, confessing his brief Communist ties. Ever after regretted this action, holding himself in enormous contempt for what he considered "ratting". Offered role of Tarzan as replacement for Lex Barker, but refused. Made headlines defying court order not to sail to Tahiti with his children following divorce decree. Published autobiography "Wanderer" in 1963, and novel "Voyage" in 1976, both to great acclaim. Cast as Quint in Jaws (1975) but unable to play due to tax problems. Died of cancer in 1986.
- Tony Award-winning English actor Michael Gough, best known for playing the butler Alfred Pennyworth in the first four Batman (1989, 1992, 1995 & 1997) movies and for playing the arch-criminal Dr. Clement Armstrong in The Avengers (1961) episode "The Cybernauts", was an accomplished performer on both stage and screen. He was nominated twice for Tony Awards, in 1979 for Best Featured Actor in a Play for Alan Ayckbourn's "Bedroom Farce" and in 1988 in the same category for Hugh Whitemore's "Breaking the Code", winning in 1979. Though he never achieved on the small screen and silver screen what he did in the theater, Gough's career in television and movies spanned sixty-plus years over eight decades. Michael Gough died at age 94 on March 17, 2011 at his home near Salisbury, Wiltshire, England.
- The talented scion of a show-business family, Keenan Wynn's father was the great burlesque and television buffoon Ed Wynn while his maternal grandfather, Frank Keenan, earned distinction on the other side of the entertainment ladder as a Shakespearean tragedian. Mother Hilda Keenan was also a minor actress. Born in New York City on July 27, 1916, during the height of his father's Broadway popularity, Keenan grew up in the lap of luxury and was educated at St. John's Military Academy. He initially followed in his grandfather's dramatic footsteps as opposed to his father's clown shoes, making his professional bow in Maine with the Lakewood Players in a production of "Accent of Youth". By 1937, he was on Broadway with "Hitch Your Wagon" in two small roles. During the run of the show, he met first wife, actress Evie Wynn Johnson, who became his coach, manager and advisor. At the same time, he began to get steady radio work.
Through the aid and encouragement of his wife and her contacts, he eventually wrangled screen tests for both 20th Century-Fox and MGM. Turned down by the first studio, he signed with Metro-Goldwyn-Mayer at a rather low pay scale of $300 a week. At MGM, Keenan became the utilitarian character player, adept at playing almost anything handed to him. Balding, homely but with real distinctive, imposing features, he made his unbilled debut in Somewhere I'll Find You (1942), and went on to play a grab-bag of shady brutes, usually in comic relief style. He was Gene Kelly's agent in For Me and My Gal (1942), a gangster in Lost Angel (1943), a soldier buddy to Robert Walker in See Here, Private Hargrove (1944) and its sequel; a drunk in a diner in The Clock (1945); Lucille Ball's tipsy beau in the Katharine Hepburn / Spencer Tracy vehicle Without Love (1945); and a news editor paired up with Ms. Ball again in Easy to Wed (1946). Moreover, he was given "B" co-star assignments in lesser material such as The Thrill of Brazil (1946), No Leave, No Love (1946) and The Cockeyed Miracle (1946).
Two sons were born to Keenan and Eve during the war years but he and Eve soon drifted apart. In 1946, the couple filed divorce papers with a third-party involvement in the form of family close friend and MGM star Van Johnson. Eve went on to marry Johnson the day after the couple's divorce was decreed in 1947. Keenan's second marriage in 1949 to Betty Jane Butler lasted only four years.
He resigned with Metro-Goldwyn-Mayer in the postwar years and ventured on as one of Hollywood's strongest character players. The drawback was that not many of his roles were high-quality challenges, roles that might have moved him toward the top of the MGM hierarchy. The more scene-stealing roles that came to him were his disagreeable, self-important burlesque star in the Clark Gable starrer The Hucksters (1947); his jazz reedman in Song of the Thin Man (1947); and the songwriter friend to Kirk Douglas in My Dear Secretary (1948). He was also given his quota of vulgar, blunt-talking villains to play, both comically and dramatically, in such films as Love That Brute (1950), Kind Lady (1951) and, in particular, his Runyonesque gangster in the musical classic Kiss Me Kate (1953). Partnered with co-hort James Whitmore, their rendering of "Brush Up Your Shakespeare" was one of many comedy highlights. He also doled out a number of brash soldier types in such films as Fearless Fagan (1952), Battle Circus (1953), Code Two (1953) and Men of the Fighting Lady (1954).
After leaving Metro-Goldwyn-Mayer in 1954, he set his sights on television, but the lure of films (and steady work) never stopped. In The Great Man (1956), Keenan finally appeared with father Ed Wynn, who had suffered a major career slide and subsequent nervous breakdown. Keenan, who at one time had gone to great lengths to extricate himself from his father's famous shadow, was now an instrument of encouragement. He suggested the elder Wynn abandon his old-styled clowning in favor of a serious character acting. His father agreed to try and appeared in a small role in the film but they had no scenes together. The risk worked. The following year both were being hailed for their superlative work together in the dramatic television production Requiem for a Heavyweight (1956).
Disney employed both father and son in the 1960s with a mustachioed Keenan as an exceptionally hissable villain in the studio's comedy feature The Absent Minded Professor (1961) and its sequel, Son of Flubber (1962). His hammy antics were spurred on in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), The Great Race (1965), Viva Max (1969) and Pretty Maids All in a Row (1971), along with standard, if not always stand-out, television work. His annoying, fast-talking conmen, scheming tycoons and other unappetizing cronies never lost their demand. In 1975, he earned an Emmy Award nomination for his guest-starring role on Police Woman (1974).
Though his later years were marred by a severe case of tinnitus (a ringing in the ear that blocks out exterior sound), he was able to continue acting until the very end. One of his last roles was as a regular on the short-lived television series The Last Precinct (1986). Sons Ned Wynn ("Edmund") and Tracy Keenan Wynn became successful writers in the business. On October 14, 1986, Keenan Wynn died of pancreatic cancer at age 70 and was survived by third wife Sharley Jean Hudson, who had three daughters by him: Hilda, Emily and Edwina. His granddaughter Jessica Keenan Wynn (Edwina's daughter) is also a Broadway singer and actress. - Actor
- Producer
- Soundtrack
Considering the kind of scruffy, backwoods, uneducated, Deep-South hillbilly types he played, many people would be surprised to hear that Ken Curtis wasn't actually born in the south but in the small town of Las Animas, Colorado, the son of the town sheriff. They would probably be even more surprised to learn that he began his show business career as a singer in the big-band era, and was a vocalist in the legendary Tommy Dorsey orchestra. He entered films in the late 1940s at the tail-end of the singing-cowboy period in a series of low-budget Westerns for Columbia Pictures. When that genre died out, Curtis turned to straight dramatic and comedy parts and became a regular in the films of director John Ford (who was his father-in-law). Curtis branched out into film production in the 1950s with two extremely low-budget monster films, The Killer Shrews (1959) and The Giant Gila Monster (1959), but he is best known for his long-running role as Festus Hagen, the scruffy, cantankerous deputy in the long-running TV series Gunsmoke (1955).- Actor
- Soundtrack
Van Johnson was the fresh-faced, well-mannered nice guy on screen you always wanted your daughter to marry! This fair, freckled and invariably friendly-looking MGM song-and-dance star of the 40s emerged a box office favorite (1944-1946) and second only to heartthrob Frank Sinatra during what gossip monger Hedda Hopper dubbed the "Bobby-soxer Blitz" era. Johnson's musical timing proved just as adroit as his legit career timing for he was able to court WWII stardom as a regimented MGM symbol of the war effort with an impressive parade of earnest soldiers. He may have been a second tier musical star behind the likes of Fred Astaire and Gene Kelly, but his easy smile, wholesome, boy-next-door appeal and strawberry-blond good looks made him a solid box-office attraction while MGM's "big boys" were off to war.
Born Charles Van Dell Johnson in Newport, Rhode Island, on August 25, 1916, Van was the only child of Loretta (Snyder) and Charles E. Johnson. His paternal grandparents were Swedish, and his mother was of German, and a small amount of Irish, ancestry. Johnson endured a lonely and unhappy childhood as the sole offspring of an extremely aloof father (who was both a plumber and real estate agent by trade) and an absentee mother (she abandoned the family when he was three, the victim of alcoholism). A paternal grandmother helped in raising the young lad. Happier times were spent drifting into the fantasy world of movies, and he developed an ardent passion to entertain. Taking singing, dancing and violin lessons during his high school years, he disregarded his father's wish to become a lawyer and instead left home following graduation to try his luck in New York.
Early experiences included chorus lines in revues, at hotels and in various small shows around town. A couple of minor breaks occurred with his 40-week stint in the "New Faces of 1936" revue (making his Broadway debut) and in a vaudeville club act (based around star Mary Martin) called "Eight Young Men of Manhattan" that played the Rainbow Room. He served as understudy to the three male leads of Rodgers and Hart's popular musical "Too Many Girls" in October of 1939 and eventually replaced one of them (actor Richard Kollmar left the show to marry reporter Dorothy Kilgallen.) He also formed a lifelong and career-igniting friendship with one of the other leads, Desi Arnaz.
Johnson made an inauspicious film debut with Arnaz in Too Many Girls (1940) when the musical was eventually lensed in Hollywood, but he was cast in a scant chorus boy part. Following a stint on Broadway in "Pal Joey" in 1940, Warner Bros. signed Van to a six-month contract. He went on to co-star with Faye Emerson in Murder in the Big House (1942), but they dropped him quickly feeling that his acting chops were lacking. It was Arnaz's wife Lucille Ball, who had recently signed with MGM, who introduced Van to Billy Grady, MGM's casting head, and instigated a successful screen test.
With the studio's top male talent off to war, Van (along with Peter Lawford) served as an earnest substitute donning fatigues in such stalwart movies as Somewhere I'll Find You (1942) The War Against Mrs. Hadley (1942) and The Human Comedy (1943). In addition, he replaced actor/war pacifist Lew Ayres in the "Dr. Kildare/Dr. Gillespie" film series after Ayres was unceremoniously dumped by the studio for his unpopular beliefs.
Stardom came, and at quite a price, for Van when he was cast yet again as a wholesome serviceman in A Guy Named Joe (1943). During the early part of filming, he was severely injured in a near-fatal car crash (he had a metal plate inserted in his skull, which instantly gave him a 4-F disqualification status for war service). Endangered of being replaced on the film, the two stars of the picture, Spencer Tracy (who became another lifelong friend) and Irene Dunne, insisted that the studio work around his convalescence or they would quit the film. The unusually kind gesture made Van a star following the film's popular release and resulting publicity. Van's career soared during the war years, making him and Lawford the resident heartthrobs not only in musicals (Two Girls and a Sailor (1944), Easy to Wed (1946)), but in airy comedies (Week-End at the Waldorf (1945)) and, of course, more war stories (Thirty Seconds Over Tokyo (1944)).
When the big stars such as Clark Gable, James Stewart and Robert Taylor returned to reclaim post-war stardom, Van willingly relinquished his "golden boy" pedestal, but he remained a high profile musical star opposite the likes of June Allyson, Esther Williams and Judy Garland. He continued to demonstrate his dramatic mettle in such well-regarded films as Command Decision (1948), State of the Union (1948), Battleground (1949), Brigadoon (1954) and The Caine Mutiny (1954) and remained a popular star for three more decades. When MGM's "golden age" phased out by the mid-1950s, Van's movie career took a sharp decline and the studio released him after he co-starred with Elizabeth Taylor in The Last Time I Saw Paris (1954).
While Van continued working as a freelancer in such as the English-made The End of the Affair (1955) with Deborah Kerr; Miracle in the Rain (1956) opposite Jane Wyman, The Bottom of the Bottle (1956) with Joseph Cotten, 23 Paces to Baker Street (1956) co-starring Vera Miles, Kelly and Me (1956) partnered with a dog, and Web of Evidence (1959), he again capitalized on his musical talents by reinventing himself as a nightclub performer and musical stage star on the regional and dinner theater circuits, including "The Music Man," "Damn Yankees," "Guys and Dolls," "Bells Are Ringing," "On a Clear Day...," "Forty Carats," "Bye Bye Birdie," "There's a Girl in My Soup" and "I Do! I Do!"
Van delved heavily into TV from the late 1960's on and served as a guest on such shows as "Laugh-In," "The Name of the Game," "The Red Skelton Show," "Nanny and the Professor," "The Virginian," "The Doris Day Show," "Love, American Style," "Maude," "Quincy," "McMillan & Wife," "The Love Boat," "Fantasy Island" and "Murder, She Wrote." He earned an Emmy nomination for his participation in the mini-series Rich Man, Poor Man (1976), and co-starred or was featured in such TV movies as Call Her Mom (1972), Superdome (1978), Black Beauty (1978), Getting Married (1978) and Three Days to a Kill (1992).
In later years, he grew larger in girth but still continued to work. He earned respectable reviews after replacing Gene Barry as Georges in the smash gay musical "La Cage Aux Folles" in 1985. His last musical role was as Cap' Andy in "Show Boat" in 1991, and his last several movies were primarily filmed overseas in Italy and Australia. Occasional featured roles on film in later years included Concorde Affaire '79 (1979), The Kidnapping of the President (1980), The Purple Rose of Cairo (1985), Killer Crocodile (1989), Delta Force Commando II: Priority Red One (1990) and Clowning Around (1992).
Van was married only once but it was the constant source of tabloid news. Typically in the closet as a high-ranking actor of the 1940s, he was extremely close friends with fellow MGM actor Keenan Wynn and his wife. Shockingly, Van wound up marrying Wynn's ex-wife, one-time stage actress Evie Wynn Johnson, immediately after the Wynn's divorced in 1947. Van and Eve went on to have one child, daughter Schuyler, in 1948, and were a popular Hollywood couple before separating after fifteen years of marriage. The marriage ended acrimoniously in 1968 and decades later Eve published a statement (after her death in 2004) confirming suspicions that MGM had engineered their marriage to cover up Johnson's homosexuality. In declining health, Van, who was estranged from his only child, died at age 92 on December 12, 2008, at a senior living facility in Nyack, New York.- Actress
- Soundtrack
Virginia Gregg was born on 6 March 1916 in Harrisburg, Illinois, USA. She was an actress, known for Operation Petticoat (1959), Crime in the Streets (1956) and Police Story (1973). She was married to Jaime Del Valle. She died on 15 September 1986 in Encino, Los Angeles, California, USA.- Music Department
- Actor
- Writer
Comedian, actor, composer and conductor, educated in New York public schools. He was a master of ceremonies in amateur shows, a carnival barker, daredevil driver and a disc jockey, and later a comedian in night clubs. By the mid-1950s he had turned to writing original music and recording a series of popular and best-selling albums with his orchestra for Capitol Records. Joining ASCAP in 1953, his instrumental compositions include "Melancholy Serenade", "Glamour", "Lover's Rhapsody", "On the Beach" and "To a Sleeping Beauty", among numerous others.- Actress
- Soundtrack
A genuine model of sincerity, practicality and dignity in most of the roles she inhabited, actress Dorothy McGuire offered Tinseltown more talent than it probably knew what to do with. A quiet, passive beauty, she had a soothing quality to her open-faced looks and voice. She was a natural when he came to tearjerkers and she certainly had a knack for opening up her film-goer's tear ducts with her arresting performances in sentimental drama. She preferred to rest on her acting laurels than engage in publicity-mongering to win roles. As a result, Dorothy was surprisingly ill-served in the awards department during her over five-decade film career, yet left a major imprint on celluloid. Touching, complex, immaculate in poise and style, she is now and forever etched in Hollywood's "Golden Age" annals and in the minds of film lovers everywhere.
Dorothy began inconspicuously enough in Omaha, Nebraska on Wednesday, June 14th, 1916. Her parents encouraged her early interest in acting and she made her debut as a teenager in "A Kiss for Cinderella" at the Omaha Community Playhouse which starred visiting alumni member Henry Fonda. She received her education at Omaha Junior College, Ladywood Convent in Indianapolis, and Pine Manor Junior College in Wellesley, Massachusetts before setting her sites on an acting career. Following summer stock she appeared in such 1938 stage productions as "Bachelor Born" and "Stopover" before understudying the role of Emily Gibb in Thornton Wilder's "Our Town" on Broadway, which at the time showcased young Martha Scott. Dorothy eventually replaced Scott in the role.
Other experiences came her way on stage with "My Dear Children" starring John Barrymore, "Swingin' the Dream", "Medicine Show", "The Time of Your Life" and "Kind Lady" before she was handed the titular role of "Claudia" in 1941. This gentle comedy became a certifiable Broadway hit and Dorothy simply incandescent as the child-like bride forced to wake up to reality after her sudden marriage. David O. Selznick subsequently signed her to a film contract. Fortunately, 20th Century-Fox, untrue to form, took a chance on the film unknown and allowed her to recreate her stage triumph opposite Robert Young. Claudia (1943) was so beautifully done and warmly received that McGuire and Young went on to recreate their roles three years later with Claudia and David (1946).
Unbelievably, Dorothy topped herself in only her second film role. After a pregnant Gene Tierney became unavailable for the role of Katie Nolan in A Tree Grows in Brooklyn (1945), the part fell to Dorothy. It's now hard to believe anyone else in the role. As the impoverished wife of a charming Irish ne'er-do-well and inebriate, Dorothy showed amazing complexity as the detached wife and mother whose painful but necessary decision-making alienates many around her, especially her daughter who is the apple of her daddy's eye. Directed by Elia Kazan, Dorothy was shamefully overlooked at awards time. Young Peggy Ann Garner was given a "special juvenile Oscar" and errant husband James Dunn picked up the Supporting Actor trophy for his work. Dorothy was not of the mind of tooting her own horn and it may have cost her an Oscar nomination -- better yet, the Oscar -- for she was hands down the better performer than eventual winner Joan Crawford, a popular choice for Mildred Pierce (1945).
Dorothy made it four film hits in a row with the success of both the sentimental fantasy The Enchanted Cottage (1945), in which she reunited with Robert Young to play two of society's castoffs who fall in love, and the expert Hitchcockian thriller The Spiral Staircase (1946) as the mute servant who is terrorized by a serial killer. Preferring rich characterizations over glamour, audiences saw Dorothy dolled up a bit more than usual in Till the End of Time (1946) as a war widow who falls for a younger hunk (Guy Madison). Her 40s filming was capped by a Best Actress nomination in Gentleman's Agreement (1947), an-anti-Semitic tale that boasted a topnotch ensemble cast including Gregory Peck, John Garfield and Celeste Holm, who won a supporting Oscar for this.
With nary a weak film yet on her resume, an unpretentious Dorothy still hadn't achieved top cinematic stardom. Preferring to return to her theater roots, she abandoned films for a couple of years and performed in such vehicles as "Tonight at 8:30" (1947) and "Summer and Smoke" (1950). When she did return it was to a different Hollywood and things would not be the same. Instead forgettable fluff such as Mother Didn't Tell Me (1950) and Callaway Went Thataway (1951) were the slim pickings offered. Although she found a popular hit with Three Coins in the Fountain (1954), the film was more notable for its title song and sumptuous settings than for the quality of acting of the three distaff stars -- McGuire, Maggie McNamara and Jean Peters.
Dorothy graciously moved into pillar-of-strength mother roles as she approached her 40s, making fine impressions as a Quaker matriarch in Friendly Persuasion (1956) and as the resourceful mom in three of Disney's endearing classics, Old Yeller (1957), Swiss Family Robinson (1960) and Summer Magic (1963). Her more flawed marital and parenting skills were displayed in the Inge film adaptation of The Dark at the Top of the Stairs (1960), and the huge, sudsy teen hit A Summer Place (1959) with Sandra Dee and Troy Donahue as young, star-crossed lovers. McGuire acted as Donahue's mother who rekindles an old love affair with Dee's father (Richard Egan). The 49-year-old McGuire then played the mother of all mothers, the Virgin Mary, in the misguided biblical epic The Greatest Story Ever Told (1965), marred by its overlong narrative and bizarre miscasting, including John Wayne as a Roman centurion. Her last film, the British-made Flight of the Doves (1971) as an Irish granny, had little impact.
In later years Dorothy found rich, rewarding work on TV and received an Emmy nomination for the well-received mini-series Rich Man, Poor Man (1976). She also played Marmee in a TV re-visitation of Part I (1978), and ended her career in good company with (what else?) a sentimental tearjerker in the mini-movie The Last Best Year (1990) co-starring Bernadette Peters and Mary Tyler Moore.
Dorothy's longtime husband was photographer John Swope who died in 1979. Her children by him are Mark Swope, an artist and photographer, and former actress Topo Swope. Dorothy's health declined severely after she fell and broke her leg in 2001. She died of heart failure not long after in a Santa Monica hospital on Thursday, September 13th at the age of 85.- Actor
- Stunts
- Director
George Montgomery was boxing champion at the University of Montana where he majored in architecture and interior design. Dropping out a year later he decided to take up boxing more seriously. He moved to California where he was coached by ex-heavyweight world champion James J. Jeffries. While in Hollywood, he came to the attention of the studios (not least, because he was an expert rider) and was hired as a stuntman in 1935. After doing this for four years, George was offered a contract at 20th Century Fox in 1939, but found himself largely confined to leads in B-westerns. He did not secure a part in anything even remotely like a prestige picture until his co-starring role in Roxie Hart (1942), opposite Ginger Rogers. Next, in Orchestra Wives (1942), he played the perfunctory love interest for Ann Rutherford, though both, inevitably, ended up playing second trombone to Glenn Miller and His Orchestra.
In 1947, George got his first serious break, being cast as Raymond Chandler's private eye Philip Marlowe in The Brasher Doubloon (1947). Reviewers, however, compared his performance unfavorably with that of Humphrey Bogart and found the film "pallid" overall. So it was back in the saddle for George. Unable to shake his image as a cowboy actor he starred in scores of films with titles like Belle Starr's Daughter (1948), Dakota Lil (1950), Jack McCall, Desperado (1953), and Masterson of Kansas (1954) at Columbia, and for producer Edward Small at United Artists. When not cleaning up the Wild West with his six-shooter, he branched out into adventure films set in exotic locales (notably as Harry Quartermain in Watusi (1959)). During the 60s, he also wrote, directed and starred in several long-forgotten, low-budget wartime potboilers made in the Philippines.
At the height of his popularity, George attracted as much publicity for his acting as for his liaisons with glamorous stars, like Ginger Rogers, Hedy Lamarr (to whom he was briefly engaged) and singer Dinah Shore (whom he married in 1943). After his retirement from the film business, he devoted himself to his love of painting, furniture-making and sculpting bronze busts, including one of his close friend Ronald Reagan.- Actor
- Producer
- Soundtrack
Forever and fondly remembered as Don Adams' foil on the popular Mel Brooks/Buck Henry spy series Get Smart (1965), character actor Ed Platt (also billed as Edward C. Platt) had been around for two decades prior to copping that rare comedy role. Born in Staten Island, New York, on Valentine's Day, 1916, he inherited an appreciation of music on his mother's side. He spent a part of his childhood in Kentucky and in upstate New York where he attended Northwood, a private school in Lake Placid, and was a member of the ski jump team. He majored in romantic languages at Princeton University but left a year later to study at the Conservatory of Music in Cincinnati after his thoughts turned to a possible operatic career. He later was accepted into Juilliard.
Instead of opera, however, Ed first became a band vocalist with Paul Whiteman and Orchestra. He then sang bass as part of the Mozart Opera Company in New York. With the Gilbert and Sullivan Opera Company in 1942, he appeared in the operettas "The Mikado," "The Gondoliers" and "The Pirates of Penzance".
WWII interrupted his early career. Ed served as a radio operator with the army and would find himself on radio again in the post-war years where his deep, resonant voice proved ideal. A number of musical comedy roles also came his way again. In 1947, he made it to Broadway with the musical "Allegro." Star José Ferrer took an interest in Ed while they both were appearing in "The Shrike" on Broadway in 1952.
Around 1953, Edward moved to Texas to be near his brother and began anchoring the local news and kiddie birthday party show called "Uncle Eddie's Kiddie Party." Ferrer remembered Platt and invited him to Hollywood where Ferrer was starring in the film version of The Shrike (1955). Ed recreated his stage role. He also earned fine notices as James Dean's understanding juvenile officer in the classic film Rebel Without a Cause (1955).
This led to a plethora of film and TV support offers where the balding actor made fine use of his dark, rich voice, stern intensity and pragmatic air, portraying a slew of professional and shady types in crime yarns, soap dramas and war pictures -- everything from principals and prosecutors to mobsters and murderers.
After years of playing it serious, which included stints on the daytime drama General Hospital (1963), Ed finally was able to focus on comedy as "The Chief" to Don Adams klutzy secret agent on Get Smart (1965), a show that inevitably found a cult audience. Picking up a few occasional guest spots in its aftermath, he later tried producing.
Twice married and the father of four, Platt died on March 19, 1974. Death was attributed to a massive heart attack at the time. Years later his son revealed that his father, suffering from acute depression and undergoing severe financial pressures, committed suicide at his Santa Monica, California apartment.- Actress
- Soundtrack
Elizabeth Ruth Grable was born on December 18, 1916 in St. Louis, Missouri, to Lillian Rose (Hofmann) and John Conn Grable, a stockbroker. She had German, English, Irish, and Dutch ancestry. Her mother was a stubborn and materialistic woman determined to make her daughter a star. Elizabeth, who later became Betty, was enrolled in Clark's Dancing School at the age of three. With her mother's guidance, Betty studied ballet and tap dancing.
Betty and her mother set out for California with the hopes of stardom. She attended the Hollywood Professional school but Lillian lied about her daughter's age and Betty (real age 13), landed several minor parts as a chorus girl in early musicals (Whoopee! (1930), New Movietone Follies of 1930 (1930), Happy Days (1929) and Let's Go Places (1930)), initially billed as 'Frances Dean'. In 1932 (real age 15), she signed with RKO Radio Pictures and began to use the moniker 'Betty Grable'. The bit parts continued for the next three years. Betty finally landed a substantial part in By Your Leave (1934). One of her big roles was in College Swing (1938). Unfortunately, the public did not seem to take notice.
The following year, she married former child star Jackie Coogan. They briefly toured on vaudeville and his success boosted hers, but they divorced in 1940. When she landed the role of Glenda Crawford in Down Argentine Way (1940), the public finally took notice of this shining bright star. Stardom came in such comedies as Coney Island (1943) and Sweet Rosie O'Grady (1943).
The public was enchanted with Betty. Her famous pin-up pose during World War II adorned barracks all around the world. With that pin-up and as the star of lavish musicals, Betty became the highest-paid star in Hollywood. After the war, her star continued to rise. In 1947, the United States Treasury Department noted that she was the highest paid star in America, earning about $300,000 a year - a phenomenal sum even by today's standards. Later, 20th Century-Fox, who had her under contract, insured her legs with Lloyds of London for a million dollars. She continued to be popular until the mid-1950s, when musicals went into a decline. Her last film was How to Be Very, Very Popular (1955).
She then concentrated on Broadway and nightclubs. In 1965, she divorced band leader Harry James, whom she had wed in 1943. Her life was an active one, devoid of the scandals that plagued many stars in one way or another. She cared more for her family than stardom.
Betty Grable died at age 56 of lung cancer on July 2, 1973 in Santa Monica, California, five days before Veronica Lake's death. She was interred at Inglewood Park Cemetery.- Actor
- Writer
- Soundtrack
Hal Smith was born on 24 August 1916 in Petoskey, Michigan, USA. He was an actor and writer, known for The Great Race (1965), The Many Adventures of Winnie the Pooh (1977) and The Andy Griffith Show (1960). He was married to Vivian M. Angstadt. He died on 28 January 1994 in Woodland Hills, Los Angeles, California, USA.- Actress
- Soundtrack
No shrinking violet this one, but despite her talent, vivacity and sheer drive, lovely and alluring blonde Evelyn Keyes would remain for the most part typed as a "B" girl on the silver screen. In spite of her ripe contributions to such superior pictures as Here Comes Mr. Jordan (1941), The Jolson Story (1946), Mrs. Mike (1949), The Prowler (1951) and 99 River Street (1953), she received no significant awards during her career. In fact, film-goers seem to remember her best not for one of these exceptional co-starring parts, but for her bit role as Scarlett O'Hara's kid sister in Gone with the Wind (1939), American's most beloved epic film. Evelyn also kept Hollywood alive and kicking with two sensationalistic memoirs that chronicled her four dicey marriages, numerous affairs with the rich and famous, and negative takes on the Hollywood studio system.
Evelyn Louise Keyes was born in Port Arthur, Texas, on November 20, 1916 (for decades she would deceive the public as to her real age). Her father died when she was two, and she and her only brother and three sisters grew up living with her mother and her grandmother in Atlanta, Georgia. Taking voice, dance and piano lessons, she was hopeful of becoming a ballerina. Instead, she entered a beauty pageant or two and worked as a chorus girl before relocating to California at age 20. Shortly after her arrival in Los Angeles, a chance meeting with the legendary Cecil B. DeMille led to a Paramount Pictures contract. Stories differ as to how she met De Mille. Hollywood folklore has it that she was "discovered" by a talent scout in true Lana Turner fashion while eating at a restaurant. Another, more believable story has it that she hooked up with one of De Mille's former writers, which led to an introduction.
Nevertheless, she was groomed as a starlet and initially placed in bit and/or unbilled roles. De Mille first gave her a small part in his pirate epic The Buccaneer (1938), then placed her rather obscurely in his sprawling railroad saga Union Pacific (1939). It was David O. Selznick who gave her the bit part of whiny, bratty Suellen O'Hara, who loses her beau to the more calculating Scarlett in "Gone with the Wind". This led directly to her signing with Columbia Pictures. In 1938, just prior to the filming of GWTW, she married businessman Barton Bainbridge, her first of four. The marriage soured within a year or so, however, after she took up with Budapest-born director Charles Vidor, who directed three of her pictures: The Lady in Question (1940) (her first at Columbia), Ladies in Retirement (1941) and The Desperadoes (1943). This second marriage lasted about as long as the first (1943-1945), supposedly due to Vidor's infidelities.
At Columbia Evelyn hit pin-up status and sparked a number of war-era pictures. She played Boris Karloff's daughter in the crime horror Before I Hang (1940) and a blind woman who befriends the hideously scarred Peter Lorre in the excellent The Face Behind the Mask (1941). Still, she could not rise above her secondary status. For every one nifty "B" picture that could propel her into the higher ranks, such as Dangerous Blondes (1943), there was always a low-caliber western (Beyond the Sacramento (1940)), adventure (A Thousand and One Nights (1945)) or musical (The Thrill of Brazil (1946)) lurking about to keep her humble.
In the post-war years, a third tempestuous but highly adventurous marriage (1946-1950) to Hollywood titan John Huston made the tabloid papers practically on a weekly basis. They divorced after four years. She did some of her best work during this period, particularly as the wife of Al Jolson opposite Larry Parks' splendid impersonation. She also showed she had a strong range and earned snappy notices alongside Dick Powell in the film noir Johnny O'Clock (1947) as well as the title comedy character in The Mating of Millie (1948) co-starring Glenn Ford.
Her last (and just as questionable) marriage was to another "father figure" type, musician Artie Shaw, a womanizer if ever there was one who had already had been discarded by trophy wives Ava Gardner and Lana Turner (and five others) by the time he and Evelyn married in 1957. She had pretty much put her career on the back burner by this point. Surprisingly, this marriage lasted longer than any of their previous ones. The couple separated in the 1970s but did not divorce until 1985.
Evelyn returned to the acting fold every once in while. Scarcely on stage (she once played Sally Bowles in a theatrical production of "I Am a Camera" in 1953), she joined up with Don Ameche in a 1972 tour of the musical "No, No, Nanette". She also would show up on an episode of The Love Boat (1977) or Murder, She Wrote (1984) every now and then. She remained childless (there was one adopted child, Pedro, by Huston, but they were estranged).
Very much the traveler, Evelyn lived sporadically all over the world, including France, England and Mexico, and spoke Spanish and French fluently. She was also a writer and published a Hollywood-themed novel in her later years. Her GWTW association and tell-all memoirs in 1977 and 1991 kept her a point of interest right up until the end. Not surprisingly, this firecracker of a lady passed away on the 4th of July -- at age 91 of uterine cancer at an assisted-living residence in Montecito, California.- Actress
- Soundtrack
Thespian Betty Field was born in Boston on February 8, 1916, the daughter of a salesman and his wife. Ancestors on her father's side were Mayflower colonists Priscilla and John Alden. Her parents divorced while she was still young and Betty eventually learned to speak Spanish while traveling with her mother to various Spanish-speaking countries during her childhood. Mother and daughter settled in Newton, Massachusetts, after the mother remarried. Betty's passion for the theatre was sparked during her early teens and by 1932 she was enrolled at the American Academy of Dramatic Art. She made her professional debut in a 1933 summer stock production of "The First Mrs. Fraser" and soon was cast in stage roles elsewhere. She even found work in a London theater production of "She Loves Me" in early 1934.
Rather plaintive in appearance with flat but highly distinctive tones, Betty's Broadway debut came about as an understudy in the comedy "Page Miss Glory" in November of 1934, courtesy of George Abbott, in which Betty also had a minor role. Therafter she performed frequently in the comedy mold, and in the service of Abbott, with such delightful plays as "Three Men on a Horse (1935), "Boy Meets Girl" (1936) "Room Service" (1937) and "The Primrose Path (1939), and earning fine reviews for the last two.
After seeing her performance on stage as Henry Aldrich's girlfriend Barbara in "What a Life" (1938), Paramount executives utilized her services when they transferred What a Life (1939) to film. The studio not only liked what they saw but signed her to a seven-year contract. Throughout the 1940s Betty appeared in a variety of leading ingénue and co-star roles. The important part of Mae, the farm girl, in John Steinbeck's classic Of Mice and Men (1939) starring Burgess Meredith and Lon Chaney was an early highlight, although it didn't provide her the necessary springboard for stardom. Part of the problem was that the rather reserved actress tended to shun the Hollywood scene (she still lived quietly with her mother).
While performing for Abbott again on Broadway in "Ring Two" (1939), Betty met the show's playwright Elmer Rice and the couple married in 1942. Their three children, John Alden, Judith and Paul, would appear on occasion with their mother on the summer stock stage. Betty also enhanced husband Rice's plays "Flight to the West" (1940) and "A New Life" (1943), which were designed especially for her.
Betty offered consistent, quality work even when the movies she appeared in met with less-than-stellar reviews. She was afforded the opportunity to work with some of Hollywood's finest leading men, including Fredric March in Victory (1940) and Tomorrow, the World! (1944), John Wayne in The Shepherd of the Hills (1941), Robert Cummings in Flesh and Fantasy (1943) and Joel McCrea in The Great Moment (1944). Tops on the list was her heart-tugging performance as the anguished daughter victimized by father Claude Rains in the classic soaper Kings Row (1942).
She purposely did not renew her Paramount contract at this point and, following another sterling performance in The Southerner (1945), took a long break from camera work. Back on Broadway, she appeared in such distinguished plays as "The Voice of the Turtle" and her husband's "Dream Girl" (Rice also directed) for career sustenance. She won the New York Drama Critics Circle award for the latter in 1946. Her Hedvig in Ibsen's "The Wild Duck" was also critically lauded.
An isolated return to Paramount to play what should have been a career highlight ended up a major disappointment,. While her Daisy Buchanan in F. Scott Fitzgerald's The Great Gatsby (1949) had mixed reviews (some felt she was miscast and not glamorous enough for the part), the movie itself (which was extensively trimmed) and her underwhelming co-star Alan Ladd were also cited as problems. Still a marquee value on Broadway, however, she displayed great range in such fare as "Twelfth Night", "The Rat Race", "Peter Pan" (taking over for Jean Arthur), "The Fourposter" (she and Burgess Meredith replaced Jessica Tandy and Hume Cronyn) and "Ladies of the Corridor"
Betty's soulful features took on a hardened, careworn veneer by the time she returned to Hollywood in the mid-1950's. Nevertheless, she had a "Field" day as a character player appearing in a number of drab, dressed-down roles. She lent credence to a number of fascinatingly flawed small-town moms and matrons in films, among them cream-of-the-crop hits Picnic (1955), starring Kim Novak, Bus Stop (1956) with Marilyn Monroe and Peyton Place (1957) headlining Lana Turner and Hope Lange. The stage plays "The Seagull", "Waltz of the Toreadors", "Touch of the Poet" and "Separate Tables" also accentuated this newly mature phase of her career.
TV took up a large percentage of Betty's time in the 1950s and 1960s with a number of showcase roles. She continued at a fairly steady pace but without much fanfare (as she preferred). Divorced from Rice in 1956, she married and split from lawyer and criminologist Edwin J. Lukas before settling down permanently with husband/artist Raymond Olivere in 1968. Betty's swan song in films was a small, featured part in Clint Eastwood's Coogan's Bluff (1968) as a floozie type, looking noticeably older than she was. Mixing in such stalwart, brittle roles on stage as Amanda in "The Glass Menagerie" and Birdie in "The Little Foxes", she made one of her last theater appearances in the difficult role of the mother in "The Effect of Gamma Rays on "Man-in-the-Moon Marigolds" in 1971.
Betty suffered a fatal cerebral hemorrhage in Hyannis, Massachusetts in 1973, just as she was about to leave and film The Day of the Locust (1975). Cast in the flashy role of "Big Sister", an evangelist, her part was taken over by Geraldine Page. At age 57, Hollywood lost a somewhat undervalued talent who enjoyed the work more than the stardom that often accompanied it.- Actor
- Writer
- Composer
Ideal for playing swarthy villains, James Griffith's tall, dark and gaunt features and shady countenance invaded hundreds of film and TV dramas (and a few comedies) throughout his career on-camera. Highlighted by his arched brows, hooded eyes and prominent proboscis, heavy character work would be his largest source of income for nearly four decades.
He was born James J. Griffith, of Welsh ancestry, on February 13, 1916, in Los Angeles. He and sister Dorothy were raised in the Santa Monica area. An early interest in music led to his learning to play several instruments, including the clarinet and saxophone. He got his first taste of entertaining audiences by performing in local bands while arranging music for them as well. An interest in acting came about participating in school plays and continued when he found parts to play in small theatre houses in such productions as "They Can't Get You Down" in 1939.
Unable to consistently pay the bills, however, Griffith found steadier work at Douglas Aircraft in Santa Monica. Enlisting in the Marine Corps. in 1941, he served his country until 1947. Eventually married with a newborn, a chance meeting with bandleader Spike Jones while working as a gas station attendant led to a six month traveling gig with Jones' City Slicker Band playing tenor saxophone.
Griffith finally broke into "B" films with a smarmy but showy role as an insurance agent in the murder drama Blonde Ice (1948). He continued to sniff out work in both drama and occasional comedy usually as unsympathetic or shady characters, sometimes billed and sometimes not. Some of his bigger, noteworthy parts in the early years came with the pictures Alaska Patrol (1949), Indian Territory (1950) and Double Deal (1950). He also took on some famous and infamous figures of history as in Fighting Man of the Plains (1949) (as William Quantrill), Day of Triumph (1954) (as Judas Iscariot), Jesse James vs. the Daltons (1954) (as outlaw Bob Dalton), The Law vs. Billy the Kid (1954) (as Pat Garrett), and Masterson of Kansas (1954) as Doc Holliday. He provided the voice of Abraham Lincoln in the Rod Cameron western Stage to Tucson (1950).
TV took much of the mustachioed actor's time from the 1950s on, notably in westerns such as "The Lone Ranger," "Annie Oakley," "Gunsmoke," "The Big Valley," "Bonanza," "Death Valley Days," "The Gene Autry Show," "Wagon Train," "Rawhide," "Maverick," "Little House on the Prairie," "B.J. and the Bear" and "Dallas." Elsewhere on the small screen he played cold-hearted villains twice on "Batman" in support of the nefarious Ma Parker and Catwoman. Not to be pegged in just oaters, he also appeared in less dusty TV fare such as "The Streets of San Francisco," "Fantasy Island" and Emergency!" Griffith made his final acting appearance on a 1984 "Trapper John" episode.
A gifted raconteur, his later years were spent writing theatre plays and movie scripts, and attending film festivals. Two of his earlier movie scripts that found releases were Russ Meyer's Lorna (1964) (in which he also appeared), Shalako (1968) and Catlow (1971). Griffith died of cancer on September 17, 1993, at age 77.- Actress
- Soundtrack
Mercedes McCambridge was a highly talented radio performer who won a best supporting Actress Oscar for her film debut.
Mercedes McCambridge was born in Joliet, Illinois, to Marie (Mahaffry) and John Patrick McCambridge, a farmer. She was of mostly Irish (with a small amount of English and German) ancestry. Despite a career full of supporting roles, she later became something of a cult figure. Her memorable voice-over for the demon child in The Exorcist (1973) has secured her place in movie history. Ironically, she took Warner Bros. to court over her being uncredited for the role, which was probably the most important in the film.
Mercedes enjoyed a quiet retirement starting from the early 1980s. She was a special guest star at the 70th Annual Anniversary Academy Awards in 1998 along with many other Oscar winners. Mercedes also made special television appearances to discuss her role in The Exorcist (1973) at the 30th Anniversary of the film's release.
She died in La Jolla in California on 2nd March 2004 from natural causes.- Actor
- Writer
- Producer
Del Moore was born on 14 May 1916 in Pensacola, Florida, USA. He was an actor and writer, known for The Nutty Professor (1963), Get Smart (1965) and Batman (1966). He was married to Gayle. He died on 30 August 1970 in Encino, Los Angeles, California, USA.- Actress
- Additional Crew
- Soundtrack
Reedy and regal actress Ruth Warrick will be remembered for two names and two names alone. In films, she will indelibly be referred to as the castoff first "Mrs. Citizen Kane," and on TV she will forever be synonymous with her character of Phoebe Tyler Wallingford, the obnoxiously wealthy, viper-tongued, manipulative and meddlesome Pine Valley grande dame who held court for 35 years until her death in 2005.
Born in St. Joseph, Missouri in 1915, Ruth moved to Kansas City while in high school and later studied at the University of Kansas City. An essay contest winner, a resulting promotional tour brought her to New York where her interest in acting was increasingly piqued. Stage-trained in New York, she appeared in such plays as "Bury the Dead" (1933) and was a radio singer at one point. She met her first husband during one her many broadcasts. This in turn led her to Orson Welles and his Mercury Theater, and the rest is history. In 1941 Welles escorted her and his company of members to Hollywood...and major stardom.
Exclusively chosen by Welles to make her ladylike debut as Emily Norton Kane in what most consider the greatest American film of all time, she followed Citizen Kane (1941) with nearly two dozen films, most of which were "B" melodramas and rugged adventures. She could play the altruistic wife with stoic ease but enjoyed more enthusiastic notices when controlling, tightly-wound or neurotic. Appearing with some of Hollywood's most illustrious male and female stars, she played a countess opposite Douglas Fairbanks Jr. in The Corsican Brothers (1941); co-starred with Mercury Theater compatriots Joseph Cotten, Agnes Moorehead and Everett Sloane in the classic film noir Journey Into Fear (1943); and starred in several war-themed movies including Secret Command (1944) with Chester Morris, Mr. Winkle Goes to War (1944) with Edward G. Robinson, and China Sky (1945), with 'Randolph Scott' (I). Post-war credits tended to regress her to second lead status opposite the likes of Joan Crawford and Ingrid Bergman, yet she still managed a few top femme roles in such films as Driftwood (1947) and One Too Many (1950), the latter in which she played an alcoholic.
The focus of Ruth's career switched to the "Golden Age" of TV in the 1950s. Aside from her many live dramatic showcases, she made a lasting mark in daytime soap opera. Her tight-lipped matrons on Guiding Light (1952) and As the World Turns (1956) were only a warm-up for her once-in-a-lifetime portrayal of one of daytime's most dominant, colorful and enduring characters. Cast on All My Children (1970) from the show's inception, Phoebe Tyler became a clear and instant favorite -- the lady you relished hating. Her priggish socialite character carried strong story lines for nearly two decades until advancing age and failing health restricted her time. Her well-received (and aptly titled) autobiography "The Confessions of Phoebe Tyler" (1980) chronicled the lives of both her and her alter-ego. Prime time also made use of Ruth's sudsy-styled talent as her Emmy nomination for the role of Hannah Cord in Peyton Place (1964) will attest.
Making her Broadway debut with "Miss Lonelyhearts" in 1957, Ruth's talents also included singing and, in between on-screen assignments, enjoyed the musical stage now and then. She understudied in "Take Me Along" (1959) with Jackie Gleason and in 1973 enjoyed a successful return to Broadway with the revival of "Irene" starring Debbie Reynolds. In regional and summer theater she starred in "Dial M for Murder," "Who's Afraid of Virginia Woolf?" and "Long Day's Journey Into Night," among others. She also toured as Anna in "The King and I" and appeared in the musicals "Pal Joey" and "Roberta."
Her life, however, was not dedicated to just on-camera pursuits. On the contrary, long active in arts-in-education programs, including programs for the disadvantaged, Ruth received the first national Arts in Education Award in 1983 from the Board of Directors of Business and Industry for Arts in Education, Inc. The award was subsequently named the Ruth Warrick Award for Arts in Education and continued to be given annually. In 1991, she received her certification as a licensed metaphysical teacher. In her senior years, she became an avid spokesperson for the rights of senior citizens as well as the disabled, and was appointed to the U.N. World Women's Committee on Mental Health.
In frail health in later years, the still feisty, five times married-and-divorced actress made occasional appearances on her beloved daytime show, even while confined to a wheelchair after a serious fall in 2001. She made her final appearance on the show in early January, 2005 to commemorate its 35th anniversary, and passed away shortly after at age 89 of complications from pneumonia.- Actor
- Director
- Writer
Despite being one of the finest actors of his generation, Peter Finch will be remembered as much for his reputation as a hard-drinking, hell-raising womanizer as for his performances on the screen. He was born in London in 1916 and went to live in Sydney, Australia, at the age of ten. There, he worked in a series of dead-end jobs before taking up acting, his film debut being in the mediocre comedy The Farmer Goes to Town (1938). He made his stage debut as a comedian's stooge in 1939. Laurence Olivier spotted him and persuaded him to return to Britain to perform classic roles on the stage. Finch then had an affair with Olivier's wife, Vivien Leigh. Despite being married three times, Finch also had highly-publicized affairs with actresses Kay Kendall and Mai Zetterling. Finch soon switched to film after suffering appalling stage fright. As a screen actor, he won five BAFTA awards and his talent was beyond doubt. His two finest roles, the only two for which he received Oscar nominations, were as the homosexual Jewish doctor in Sunday Bloody Sunday (1971) and as the "mad prophet of the air-waves" in Network (1976). He died a couple of months before being awarded the Oscar for Best Performance by an Actor in a Leading Role in Network (1976) and was the first actor to have won the award posthumously.- Writer
- Actor
- Soundtrack
Dahl was born in Wales in 1916. He served as a fighter pilot in the Royal Air Force during World War II. He made a forced landing in the Libyan Desert and was severely injured. As a result, he spent five months in a Royal Navy hospital in Alexandria. Dahl is noted for how he relates suspenseful and sometimes horrific events in a simple tone.- Actress
- Soundtrack
As an American character actress, Fran Ryan was a familiar face on stage, screen and television from her theatrical stage debut in the 1950s and continuing for nearly three decades. Ryan's similarity to actress Marjorie Main was soon noticed in the late 1960s, and she frequently played tough, mean-lipped, earthy and gruff-but-lovable female characters.
One of Ryan's first major television roles was playing Aggie Thompson, the housekeeper on The Doris Day Show (1968) and quickly found her place as a last-minute replacement on several television shows. She replaced the late Barbara Pepper in playing Doris Ziffel on the final season of Green Acres (1965). She also successfully succeeded Amanda Blake to play Miss Hannah on the final season of Gunsmoke (1955). Ryan's best-known TV credits include General Hospital (1963) and No Soap, Radio (1982).
Ryan also had supporting roles in major motion pictures including Big Wednesday (1978), The Long Riders (1980), Stripes (1981), Savannah Smiles (1982), Private School (1983), Eyes of Fire (1983) and Pale Rider (1985). Although she was never far from television, she returned to play Hannah the Barbarian in the short lived animated series Little Dracula (1991).
Fran Ryan passed away at her home in Burbank, California on January 15, 2000 of natural causes.