Name	Raoul Walsh
Caption	Raoul Walsh as John Wilkes Booth in The Birth of a Nation.
Birth date	March 11, 1887
Birth place	New York City, New York, U.S.
Death date	December 31, 1980
Death place	Simi Valley, California, U.S.
Occupation	Actor/Director
Years active	1909–1964
Spouse	Miriam Cooper (February 1916 - 1926) Lorraine Miller (August 20th, 1928 - 1947) Mary Simpson (1947 - 1980)

Raoul Walsh (March 11, 1887December 31, 1980) was an American film director, actor, founding member of the Academy of Motion Picture Arts and Sciences (AMPAS) and the brother of silent screen actor George Walsh. Certain of Raoul Walsh's film related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.

Early life

Born Albert Edward Walsh, as a young man he was a close friend of Virginia O'Hanlon of "Yes, Virginia, there is a Santa Claus" fame. Like his younger brother he was part of Omega Gamma Delta during his high school days. Growing up in New York Walsh was also a friend of the Barrymore family. John Barrymore recalled spending time reading in the Walsh family library as a youth.

Film career

Walsh began as a stage actor in New York City, quickly progressing into film acting. Walsh was educated at Seton Hall College and began acting in 1909. In 1914, he became an assistant to D.W. Griffith and made his first full-length feature film The Life of General Villa, followed by the critically-acclaimed Regeneration in 1915, possibly the earliest feature gangster film. Walsh played John Wilkes Booth in Griffith's epic The Birth of a Nation (1915) for which he was also Assistant Director. Walsh later directed The Thief of Bagdad (1924), starring Douglas Fairbanks and Anna May Wong.

In Sadie Thompson (1928) starring Gloria Swanson as a prostitute seeking a new life in Samoa, Walsh starred as Swanson's boyfriend in his first acting role since 1915; he also directed the film. Walsh was then hired to direct and star in In Old Arizona, a film about The Cisco Kid. While on location for that film Walsh suffered a car accident in which he lost his right eye. He gave up the part (but not the directing job), and never acted again. Walsh would wear an eyepatch for the rest of his life.

In the early days of sound with Fox, Walsh directed the first widescreen spectacle, The Big Trail (1930), a wagon train western shot on location across the West. It starred then unknown John Wayne, whom Walsh discovered as prop boy Marion Morrison and renamed after Revolutionary War general Mad Anthony Wayne (Walsh happened to be reading a book about General Wayne at the time). Walsh directed The Bowery (1933), featuring Wallace Beery, George Raft, Fay Wray and Pert Kelton; the movie recounts the story of Steve Brodie, the first man to supposedly jump off the Brooklyn Bridge and live to brag about it.

An undistinguished period followed with Paramount Pictures from 1935 to 1939, but Walsh's career rose to new heights soon after moving to Warner Brothers, with The Roaring Twenties (1939) featuring James Cagney and Humphrey Bogart; Dark Command (1940) with John Wayne and Roy Rogers; They Drive By Night (1940) with George Raft, Ann Sheridan, Ida Lupino, and Bogart; High Sierra (1941) with Lupino and Bogart again; They Died with Their Boots On (1941) with Errol Flynn as Custer; Manpower (1941) with Edward G. Robinson, Marlene Dietrich, and George Raft; and White Heat (1949) with Cagney. Walsh's contract at Warners expired in 1953.

He directed several films afterwards, including two with Clark Gable, The Tall Men (1955) and The King and Four Queens (1956). Walsh retired in 1964.

Selected filmography

The Pseudo Prodigal (1913), directorial debut

The Life of General Villa (1914)

Regeneration (1915)

Carmen (1915), with Theda Bara

The Woman and the Law (1918), with Jack Connors, Miriam Cooper and Peggy Hopkins Joyce

The Prussian Cur (1918)

Evangeline (1919)

The Deep Purple (1920)

Kindred of the Dust (1922)

The Thief of Bagdad (1924), produced by and starring Douglas Fairbanks, and featuring Anna May Wong

What Price Glory? (1926), his most successful silent movie

Sadie Thompson (1928), in which he acted alongside Gloria Swanson

The Cock-Eyed World (1929)

The Big Trail (1930) with John Wayne; early location movie in widescreen and Wayne's first leading role

The Man Who Came Back (1931) with Janet Gaynor and Charles Farrell

The Yellow Ticket (1931) with Lionel Barrymore and Laurence Olivier

Wild Girl (1932) with Charles Farrell, Joan Bennett, Ralph Bellamy, and Eugene Pallette

The Bowery (1933) with Wallace Beery, George Raft, Fay Wray, and Pert Kelton

Klondike Annie (1936) with Mae West and Victor McLaglen

O.H.M.S. (1937)

St. Louis Blues (1939)

The Roaring Twenties (1939) with James Cagney and Humphrey Bogart

Dark Command (1940) with John Wayne, Roy Rogers, and Gabby Hayes

They Drive by Night (1940) with George Raft, Ann Sheridan, Ida Lupino, and Humphrey Bogart

High Sierra (1941) with Ida Lupino and Humphrey Bogart

They Died with Their Boots On (1941) with Errol Flynn and Olivia de Havilland

Manpower (1941) with Edward G. Robinson, Marlene Dietrich, and George Raft

Desperate Journey (1942) with Errol Flynn and Ronald Reagan

Gentleman Jim (1942) with Errol Flynn and William Frawley

Northern Pursuit (1943) with Errol Flynn

Objective, Burma! (1945) with Errol Flynn

Pursued (1947) with Robert Mitchum and Teresa Wright

Silver River (1948) with Errol Flynn

White Heat (1949) with James Cagney and Edmond O'Brien

Colorado Territory (1949), a remake of High Sierra with Joel McCrea, Virginia Mayo, Dorothy Malone, and Henry Hull

Montana (1950), with Errol Flynn

Captain Horatio Hornblower (1951) with Gregory Peck and Virginia Mayo

Distant Drums (1951), remarkable for its innovative sound effects

Blackbeard the Pirate (1952) with Robert Newton, Linda Darnell and William Bendix

The World in His Arms (1952) with Gregory Peck, Ann Blyth and Anthony Quinn

Gun Fury (1953), with Donna Reed and Lee Marvin

A Lion Is in the Streets (1953), with James Cagney, and Lon Chaney Jr.

The Lawless Breed (1953)

Sea Devils (1953) with Rock Hudson

Saskatchewan (1954)

Battle Cry (1955)

The Tall Men (1955) with Clark Gable and Jane Russell

The King and Four Queens (1956) with Clark Gable and Eleanor Parker

Band of Angels (1957) with Clark Gable, Yvonne De Carlo, and Sidney Poitier

The Sheriff of Fractured Jaw (1958)

The Naked and the Dead (1958), with Cliff Robertson, based on the best-selling novel by Norman Mailer.

Esther and the King (1960)

Marines, Let's Go (1961)

A Distant Trumpet (1964), final film.

Walsh unofficially co-directed The Enforcer, with Humphrey Bogart and Zero Mostel, when director Bretaigne Windust fell ill at the beginning of shooting in 1951. Walsh refused to take a screen credit.

Trivia

Walsh was set to direct and star in the Western In Old Arizona in 1929, but had to abandon the project when a jackrabbit jumped through the windshield of a car he was driving and cost Walsh an eye. Walsh's replacement Warner Baxter won an Academy Award for playing the Cisco Kid in the film, and Irving Cummings was nominated for his direction.

After losing his eye, his doctor reportedly asked if he'd like an artificial (glass) one. "Hell, no," Walsh snapped. "Everytime I'd get in a fight, I'd have to put it in my pocket." He wore an eyepatch for the rest of his life.

There are echoes in Walsh's films of events in his own life and that of his family: as a child his parents entertained famous Broadway actor of the day Edwin Thomas Booth, brother of John Wilkes Booth whom Walsh was later to play in The Birth of a Nation (1915); in They Died with Their Boots On (1941) there is an actor playing a bit part as a tailor to the US cavalry officers that might have been a reference to Walsh's father who made uniforms for General Custer and other high-ranking officers before becoming chief designer for Brooks Brothers in New York.

Like his contemporary Howard Hawks, Walsh was known for never letting the facts get in the way of a good story. According to Walsh, in 1942, a few days after John Barrymore had died, Walsh, as a practical joke, picked up Barrymore's body from the mortuary and managed to sit the body, clad in a business suit, in a chair in Errol Flynn's house just before Flynn was due to arrive home. This story—recounted by both Flynn and Walsh in their autobiographies—was disputed by the artist Gene Fowler, a friend to both Barrymore and Flynn. Fowler states in his autobiography that he spent much of the night during which the joke was supposed to have occurred sitting with Barrymore's body in a Hollywood funeral home.

Many years earlier, Barrymore had inscribed a photograph of himself to Walsh, with a nod to As You Like It: 'Each man in his time plays many different parts. You have played them all.' Walsh used part of the inscription as the title for his autobiography, Each Man in his Time published by Farrar, Strauss and Giroux in 1974. Leonard Maltin has described the book as "entertaining fiction with an occasional nod at the truth".

References

External links

Senses of Cinema: Great Directors Critical Database

Paolo Bachmann, Raoul Walsh, Torino, Quaderni del Movie Club di Torino, 1977.

Jean-Louis Comolli, L'esprit d'aventure, "Cahiers du cinéma", n. 154, avril 1964.

Toni D'Angela, Raoul Walsh o dell'avventura singolare, Roma, Bulzoni, 2008.

Raoul Walsh by Tag Gallagher @ Senses of Cinema

"Trafic", n. 28, hiver 1998.

"La furia umana", n. 1. 2009, http://www.lafuriaumana.it

Category:Academy of Motion Picture Arts and Sciences founders Category:American film directors Category:Western (genre) film directors Category:American film actors Category:American silent film actors Category:American people of Irish descent Category:American people with disabilities Category:1887 births Category:1980 deaths

Caption	Bogart in 1946
Birth name	Humphrey DeForest Bogart
Birth date	December 25, 1899
Birth place	New York City, New York, U.S.
Death date	January 14, 1957
Death place	Los Angeles, California, U.S.
Occupation	Actor
Years active	1921–1956
Spouse	Helen Menken (1926–1927) (divorced)Mary Philips (1928–1937) (divorced)Mayo Methot (1938–1945) (divorced)Lauren Bacall (1945–1957) (his death) 2 children
Website	http://www.humphreybogart.com/

Humphrey DeForest Bogart (December 25, 1899 – January 14, 1957) was an American actor. He is widely regarded as a cultural icon. The American Film Institute ranked Bogart as the greatest male star in the history of American cinema.

After trying various jobs, Bogart began acting in 1921 and became a regular in Broadway productions in the 1920s and 1930s. When the stock market crash of 1929 reduced the demand for plays, Bogart turned to film. His first great success was as Duke Mantee in The Petrified Forest (1936), and this led to a period of typecasting as a gangster with films such as Angels with Dirty Faces (1938) and B-movies like The Return of Doctor X (1939).

His breakthrough as a leading man came in 1941, with High Sierra and The Maltese Falcon. The next year, his performance in Casablanca raised him to the peak of his profession and, at the same time, cemented his trademark film persona, that of the hard-boiled cynic who ultimately shows his noble side. Other successes followed, including To Have and Have Not (1944), The Big Sleep (1946), Dark Passage (1947) and Key Largo (1948), with his wife Lauren Bacall; The Treasure of the Sierra Madre (1948); The African Queen (1951), for which he won his only Academy Award; Sabrina (1954) and The Caine Mutiny (1954). His last movie was The Harder They Fall (1956). During a film career of almost thirty years, he appeared in 75 feature films.

Early life

Bogart was born on Christmas Day, December 25, 1899 in New York City, the first child of Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York, New York) and Maud Humphrey (1868–1940). Belmont and Maud were married in June 1898. Bogart is a Dutch name meaning “orchard”. Bogart's father was a Presbyterian, while his mother was an Episcopalian. Bogart was raised in his mother's faith.

Bogart's birthday has been a subject of controversy. It was long believed that his birthday on Christmas Day 1899, was a Warner Bros. fiction created to romanticize his background, and that he was really born on January 23, 1899, a date that appears in many references. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a New York newspaper in early January 1900, which supports the December 1899 date, as do other sources, such as the 1900 census.

Childhood

Bogart's father, Belmont, was a surgeon specializing in heart and lungs. His mother, Maud Humphrey, was a commercial illustrator, who received her art training in New York and France, including study with James McNeill Whistler, and who later became artistic director of the fashion magazine The Delineator. She was a militant suffragette. She used a drawing of baby Humphrey in a well-known ad campaign for Mellins Baby Food. In her prime, she made over $50,000 a year, then a vast sum, far more than her husband's $20,000 per year. The Bogarts lived in a fashionable Upper West Side apartment, and had an elegant cottage on a fifty-five acre estate in upstate New York on Canandaigua Lake. As a youngster, Humphrey's gang of friends at the lake would put on theatricals.

Humphrey was the oldest of three children; he had two younger sisters, Frances and Catherine Elizabeth (Kay). As a boy, Bogart was teased for his curls, his tidiness, the "cute" pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name "Humphrey." From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a life-long love of boating, and an attraction to strong-willed women.

Education

The Bogarts sent their son to private schools. Humphrey began school at the Delancey School until fifth grade, when he was enrolled in Trinity School. He was an indifferent, sullen student who showed no interest in after-school activities. Later he went to the prestigious preparatory school Phillips Academy, in Andover, Massachusetts, where he was admitted based on family connections. They hoped he would go on to Yale, but in 1918, Bogart was expelled.

The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some intemperate comments to the staff. It has also been said that he was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.

Navy

Coming up with no other career options, Bogart followed his love for the sea and enlisted in the United States Navy in the spring of 1918. He recalled later, “At eighteen, war was great stuff. Paris! French girls! Hot damn!” Bogart is recorded as a model sailor who spent most of his months in the Navy after the Armistice was signed, ferrying troops back from Europe.

Trademark scar

It was during his naval stint that Bogart may have gotten his trademark scar and developed his characteristic lisp, though the actual circumstances are unclear. In one account, during a shelling of his ship the , his lip was cut by a piece of shrapnel, although some claim Bogart did not make it to sea until after the Armistice was signed. Another version, which Bogart's long time friend, author Nathaniel Benchley, claims is the truth, is that Bogart was injured while on assignment to take a naval prisoner to Portsmouth Naval Prison in Kittery, Maine. Supposedly, while changing trains in Boston, the handcuffed prisoner asked Bogart for a cigarette and while Bogart looked for a match, the prisoner raised his hands, smashed Bogart across the mouth with his cuffs, cutting Bogart's lip, and fled. The prisoner was eventually taken to Portsmouth. An alternate explanation is in the process of uncuffing an inmate, Bogart was struck in the mouth when the inmate wielded one open, uncuffed bracelet while the other side was still on his wrist. According to Darwin Porter's Humphrey Bogart: The Early Years, the scar was caused by his father, Belmont, during a terrible argument.

By the time Bogart was treated by a doctor, the scar had already formed. "Goddamn doctor," Bogart later told David Niven, "instead of stitching it up, he screwed it up." Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogart got the scar during wartime were made up by the studios to inject glamour. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later.

Early career

Bogart returned home to find Belmont was suffering from poor health (perhaps aggravated by morphine addiction), his medical practice was faltering, and he lost much of the family's money on bad investments in timber. During his naval days, Bogart's character and values developed independent of family influence, and he began to rebel somewhat from their values. He came to be a liberal who hated pretensions, phonies, and snobs, and at times he defied conventional behavior and authority, traits he displayed in life and in his movies. On the other hand, he retained their traits of good manners, articulateness, punctuality, modesty, and a dislike of being touched.

After his naval service, Bogart worked as a shipper and then bond salesman. He joined the Naval Reserve.

More importantly, he resumed his friendship with boyhood mate Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. Brady Sr.'s new company World Films. Bogart got to try his hand at screenwriting, directing, and production, but excelled at none. For a while, he was stage manager for Brady's daughter's play A Ruined Lady. A few months later, in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays. Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He stated, “I was born to be indolent and this was the softest of rackets”.

Bogart had been raised to believe acting was beneath a gentleman, but he enjoyed stage acting. He never took acting lessons, but was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935. He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask "Tennis, anyone?" on stage. Critic Alexander Woollcott wrote of Bogart's early work that he "is what is usually and mercifully described as inadequate." Some reviews were kinder. Heywood Broun, reviewing Nerves wrote, “Humphrey Bogart gives the most effective performance...both dry and fresh, if that be possible”. Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them "White Pants Willie" roles.

Early in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met actress Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in New York City, divorced on November 18, 1927, but remained friends. On April 3, 1928, he married Mary Philips at her mother's apartment in Hartford, Connecticut. She, like Menken, had a fiery temper and, like every other Bogart spouse, was an actress. He had met Mary when they appeared in the play Nerves, which had a very brief run at the Comedy Theatre in September 1924.

After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart's earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell and Ruth Etting in a Vitaphone short, Broadway's Like That (1930) which was re-discovered in 1963.

Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor whom Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him "Bogey". (Spelled variously in many sources, Bogart himself spelled his nickname "Bogie".) Tracy and Bogart appeared in their only film together in John Ford's early sound film Up the River (1930), with both playing inmates. It was Tracy's film debut. Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part.

Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents had separated, and Belmont died in 1934 in debt, which Bogart eventually paid off. (Bogart inherited his father's gold ring which he always wore, even in many of his films. At his father's deathbed, Bogart finally told Belmont how much he loved him.)

Bogart's second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.

The Petrified Forest

, Humphrey Bogart and Henry Fonda in the television broadcast of Petrified Forest.]] Bogart starred in the Broadway play Invitation to a Murder at the Theatre Masque, now the John Golden Theatre, in 1934. The producer Arthur Hopkins heard the play from off-stage and sent for Bogart to play escaped murderer Duke Mantee in Robert E. Sherwood's new play, The Petrified Forest.

The play had 197 performances at the Broadhurst Theatre in New York in 1935. Leslie Howard though, was the star. A critic for the New York Times Brooks Atkinson said of the play, “a peach... a roaring Western melodrama... Humphrey Bogart does the best work of his career as an actor.” Bogart said the movie “marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallow-tailed ‘smoothies’ to which I seemed condemned to life.” However, he was still feeling insecure. Bette Davis and Leslie Howard were cast. Howard, who held production rights, made it clear he wanted Bogart to star with him. The studio tested several Hollywood veterans for the Duke Mantee role, and chose Edward G. Robinson, who had greater star appeal and was due to make a film to fulfill his expensive contract. Bogart cabled news of this to Howard, who was in Scotland. Howard cabled reply was, “Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.”. When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart. Jack Warner, famous for butting heads with his stars, tried to get Bogart to adopt a stage name, but Bogart stubbornly refused. Bogart never forgot Howard's favor, and in 1952 he named his only daughter, Leslie, after Howard, who had died in World War II. Robert E. Sherwood remained a close friend of Bogart's.

Early film career

The film version of The Petrified Forest was released in 1936. His performance was called “brilliant”, “compelling”, and “superb.” Despite his success in an “A movie,” Bogart received a tepid twenty-six week contract at $550 per week and was typecast as a gangster in a series of "B movie" crime dramas. Bogart was proud of his success, but the fact that it came from playing a gangster weighed on him. He once said:

I can't get in a mild discussion without turning it into an argument. There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. Nobody likes me on sight. I suppose that's why I'm cast as the heavy.

Bogart's roles were not only repetitive, but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tightly-scheduled job at Warners was not exactly the “peachy” actor's life he hoped for. However, he was always professional and generally respected by other actors. In those "B movie" years, Bogart started developing his lasting film persona — the wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a core of honor.

Bogart's disputes with Warner Bros. over roles and money were similar to those the studio had with other less-than-obedient stars, such as Bette Davis, James Cagney, Errol Flynn, and Olivia de Havilland.

and Jeffrey Lynn in The Roaring Twenties (1939), the last film Bogart and Cagney made together.]] The studio system, then at its most entrenched, usually restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay. Bogart disliked the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were not generally shot sequentially. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that the Warners wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog Zero to play his character's dog Pard.

The leading men ahead of Bogart at Warner Bros. included not just such classic stars as James Cagney and Edward G. Robinson, but also actors far less well-known today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio's better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can't Get Away With Murder. The only substantial leading role he got during this period was in Dead End (1937), while loaned to Samuel Goldwyn, where he portrayed a gangster modeled after Baby Face Nelson. He did play a variety of interesting supporting roles, such as in Angels with Dirty Faces (1938) (in which his character got shot by James Cagney's). Bogart was gunned down on film repeatedly, by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he played a good man caught up and destroyed by a racist organization, a movie Graham Greene called “intelligent and exciting, if rather earnest”.

In 1938, Warner Bros. put him in a "hillbilly musical" called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance. In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked, "If it'd been Jack Warner's blood...I wouldn't have minded so much. The trouble was they were drinking mine and I was making this stinking movie."

(1939) was one of the last films in which he played a supporting role.]] Mary Philips, in her own sizzling stage hit A Touch of Brimstone (1935), refused to give up her Broadway career to go to Hollywood with Bogart. After the play closed, however, she went to Hollywood, but insisted on continuing her career (she was still a bigger star than he was), and they decided to divorce in 1937.

On August 21, 1938, Bogart entered into a disastrous third marriage, with actress Mayo Methot, a lively, friendly woman when sober, but paranoid when drunk. She was convinced that her husband was cheating on her. The more she and Bogart drifted apart, the more she drank, got furious and threw things at him: plants, crockery, anything close at hand. She even set the house on fire, stabbed him with a knife, and slashed her wrists on several occasions. Bogart for his part needled her mercilessly and seemed to enjoy confrontation. Sometimes he turned violent. The press accurately dubbed them "the Battling Bogarts". "The Bogart-Methot marriage was the sequel to the Civil War", said their friend Julius Epstein. A wag observed that there was "madness in his Methot". During this time, Bogart bought a motor launch, which he named Sluggy after his nickname for his hot-tempered wife. Despite his proclamations that "I like a jealous wife", "we get on so well together (because) we don’t have illusions about each other", and "I wouldn't give you two cents for a dame without a temper", it became a highly destructive relationship.

In California in 1945, Bogart bought a sailing yacht, the Santana, from actor Dick Powell. The sea was his sanctuary and he loved to sail around Catalina Island. He was a serious sailor, respected by other sailors who had seen too many Hollywood actors and their boats. About 30 weekends a year, he went out on his boat. He once said, "An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be."

He had a lifelong disgust for the pretentious, fake or phony, as his son Stephen told Turner Classic Movies host Robert Osborne in 1999. Sensitive yet caustic, and disgusted by the inferior movies he was performing in, Bogart cultivated the persona of a soured idealist, a man exiled from better things in New York, living by his wits, drinking too much, cursed to live out his life among second-rate people and projects.

Bogart rarely saw his own films and avoided premieres. He did not participate in the Hollywood gossip game or cozy up to the newspaper columnists, nor engage in phony politeness and admiration of his peers or in behind the scenes back-stabbing. He even protected his privacy with invented press releases about his private life to satisfy the curiosity of the newspapers and the public. When he thought an actor, director or a movie studio had done something shoddy, he spoke up about it and was willing to be quoted. He advised Robert Mitchum that the only way to stay alive in Hollywood was to be an "againster". As a result, he was not the most popular of actors, and some in the Hollywood community shunned him privately to avoid trouble with the studios. But the Hollywood press, unaccustomed to candor, was delighted. Bogart once said:

All over Hollywood, they are continually advising me "Oh, you mustn't say that. That will get you in a lot of trouble" when I remark that some picture or writer or director or producer is no good. I don't get it. If he isn't any good, why can't you say so? If more people would mention it, pretty soon it might start having some effect.

Rise to stardom

High Sierra

High Sierra, a 1941 movie directed by Raoul Walsh, had a screenplay written by Bogart's friend and drinking partner, John Huston, adapted from the novel by W.R. Burnett (Little Caesar, etc.). Both Paul Muni and George Raft turned down the lead role, giving Bogart the opportunity to play a character of some depth. The film was Bogart's last major film playing a gangster (his final gangster role was in The Big Shot in 1942). Bogart worked well with Ida Lupino, and her relationship with him was a close one, provoking jealousy from Bogart's wife Mayo.

The film cemented a strong personal and professional connection between Bogart and Huston. Bogart admired and somewhat envied Huston for his skill as a writer. Though a poor student, Bogart was a lifelong reader. He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare. He subscribed to the Harvard Law Review.

The Maltese Falcon

in The Maltese Falcon]] Raft turned down the male lead in John Huston's directorial debut The Maltese Falcon (1941), due to its being a cleaned up version of the pre-Production Code The Maltese Falcon (1931), his contract stipulating that he did not have to appear in remakes. The original novel, written by Dashiell Hammett, was first published in the pulp magazine Black Mask in 1929. It was also the basis for another movie version, Satan Met a Lady (1936). Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Elisha Cook, Jr., and Mary Astor as the treacherous female foil.

Bogart's sharp timing as private detective Sam Spade was praised by the cast and director as vital to the quick action and rapid-fire dialog. The film was a huge hit and for Huston, a triumphant directorial debut. Bogart was unusually happy with it, remarking, "it is practically a masterpiece. I don’t have many things I’m proud of... but that's one".

Casablanca

Bogart gained his first real romantic lead in 1942's Casablanca, playing Rick Blaine, the hard-pressed expatriate nightclub owner, hiding from the past and negotiating a fine line between Nazis, the French underground, the Vichy prefect and unresolved feelings for his ex-girlfriend. The film was directed by Michael Curtiz, produced by Hal Wallis and featured a strong cast, including Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson.

and Bogart in Casablanca.]] In real life, Bogart played tournament chess, one level below master level and often played with crew members and cast off the set. It was reportedly his idea that Rick Blaine be portrayed as a chess player, which also served as a metaphor for the sparring relationship of the characters played by Bogart and Rains in the movie. However, Paul Henreid proved to be the best player.

The on-screen magic of Bogart and Bergman was the result of two actors doing their very best work, not any real-life sparks, though Bogart's perennially jealous wife assumed otherwise. Off the set, the co-stars hardly spoke during the filming, where normally she had a reputation for affairs with her leading men. Because Bergman was taller than her leading man, Bogart had blocks attached to his shoes in certain scenes. Years later, after Bergman had taken up with Italian director Roberto Rossellini, and bore him a child, Bogart confronted her. "You used to be a great star", he said, "What are you now?" "A happy woman," she replied.

Casablanca won the 1943 Academy Award for Best Picture. Bogart was nominated for the Best Actor in a Leading Role, but lost out to Paul Lukas for his performance in Watch on the Rhine. Still, for Bogart, it was a huge triumph. The film vaulted him from fourth place to first in the studio's roster, finally exceeding James Cagney, and more than doubling his salary to over $460,000 per year by 1946, making him the highest paid actor in the world.

Bogart and Bacall

Bogart met Lauren Bacall while filming To Have and Have Not (1944), a very loose adaptation of the Ernest Hemingway novel. The movie has many similarities with Casablanca — the same enemies, the same kind of hero, even a piano player sidekick (this time Hoagy Carmichael).

When they met, Bacall was nineteen and Bogart was forty-five. He nicknamed her "Baby." She had been a model since she was sixteen and had acted in two failed plays. Bogart was drawn to Bacall's high cheekbones, green eyes, tawny blond hair, and lean body, as well as her poise and earthy, outspoken honesty. Reportedly he said, “I just saw your test. We’ll have a lot of fun together”. Their physical and emotional rapport was very strong from the start, and the age difference and different acting experience also created the additional dimension of a mentor-student relationship. Quite contrary to the Hollywood norm, it was his first affair with a leading lady. Bogart was still miserably married and his early meetings with Bacall were discreet and brief, their separations bridged by ardent love letters. The relationship made it much easier for the newcomer to make her first film, and Bogart did his best to put her at ease by joking with her and quietly coaching her. He let her steal scenes and even encouraged it. Howard Hawks, for his part, also did his best to boost her performance and her role, and found Bogart easy to direct.

Hawks at some point began to disapprove of the pair. Hawks considered himself her protector and mentor, and Bogart was usurping that role. Hawks fell for Bacall as well (normally he avoided his starlets, and he was married). Hawks told her that she meant nothing to Bogart and even threatened to send her to Monogram, the worst studio in Hollywood. Bogart calmed her down and then went after Hawks. Jack Warner settled the dispute and filming resumed. Out of jealousy, Hawks said of Bacall: "Bogie fell in love with the character she played, so she had to keep playing it the rest of her life."

The Big Sleep

Just months after wrapping the film, Bogart and Bacall were re-united for their second movie together, the film noir The Big Sleep, based on the novel by Raymond Chandler, again with script help from William Faulkner. Chandler thoroughly admired Bogart's performance: "Bogart can be tough without a gun. Also, he has a sense of humor that contains that grating undertone of contempt."

Bogart was still torn between his new love and his sense of duty to his marriage. The mood on the set was tense, the actors both emotionally exhausted as Bogart tried to find a way out of his dilemma. Once again, the dialogue was full of sexual innuendo supplied by Hawks, and Bogart is convincing and enduring as private detective Philip Marlowe. In the end, the film was very successful, though some critics found the plot confusing and overly complicated.

Marriage

Divorce proceedings were initiated by February 1945. Bogart and Bacall then married in a small ceremony at the country home of Bogart's close friend, Pulitzer Prize-winning author Louis Bromfield at Malabar Farm near Lucas, Ohio on May 21, 1945.

Bogart and Bacall moved into a $160,000 white brick mansion in an exclusive neighborhood in Holmby Hills. The marriage proved to be a happy one, though there were the normal tensions due to their differences. He was a homebody and she liked nightlife. He loved the sea; it made her sick. Bacall allowed Bogart lots of weekend time on his boat as she got seasick. Bogart's drinking sometimes inflamed tensions.

Lauren Bacall gave birth to Stephen Humphrey Bogart on January 6, 1949. Stephen was named after Bogart's character's nickname in To Have and Have Not, making Bogart a father at 49. Stephen would go on to become a best-selling author and biographer, later hosting a television special about his father on Turner Classic Movies. They had their second child, Leslie Howard Bogart on August 23, 1952, a girl named after British actor Leslie Howard.

Later career

The enormous success of Casablanca redefined Bogart's career. For the first time, Bogart could be cast successfully as a tough, strong man and, at the same time, as a vulnerable love interest. Despite Bogart's elevated standing, he did not yet have a contractual right of script refusal, so when he got weak scripts, he dug in his heels, and locked horns again with the front office, as he did on the film Conflict (1945). Though he submitted to Jack Warner on that picture, he successfully turned down God is My Co-Pilot (1945). During part of 1943 and 1944, Bogart went on USO and War Bond tours accompanied by Mayo, enduring arduous travels to Italy and North Africa, including Casablanca. Bogart later said of co-star (and John Huston's father) Walter Huston, "He's probably the only performer in Hollywood to whom I’d gladly lost a scene".

The film was grueling to make, and was done in summer for greater realism and atmosphere. James Agee wrote, "Bogart does a wonderful job with this character...miles ahead of the very good work he has done before”. John Huston won the Academy Award for direction and screenplay and his father won Best Supporting Actor, but the film had mediocre box office results. Bogart complained, “An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it".

House Un-American Activities Committee

Bogart, a liberal Democrat, organized a delegation to Washington, D.C., called the Committee for the First Amendment, against the House Un-American Activities Committee's harassment of Hollywood screenwriters and actors. He subsequently wrote an article "I'm No Communist" in the March 1948 edition of Photoplay magazine in which he distanced himself from The Hollywood Ten in order to counter the negative publicity that resulted from his appearance. Bogart wrote: "The ten men cited for contempt by the House Un-American Activities Committee were not defended by us."

Santana Productions

In addition to being offered better, more diverse roles, in 1948 he started his own production company, Santana Productions, named after his private sailing yacht. (Santana was also the name of the cabin cruiser featured in the 1948 film Key Largo). Bogart's contract gave him the right to have his own production company, but Jack Warner was reportedly furious at this, fearing that other stars would do the same and major studios would lose their power. The studios, however, were already under a lot of pressure, not just from free-lancing actors like Bogart, James Stewart, Henry Fonda and others (who also saved taxes as independents), but also from the eroding impact of television and from anti-trust laws which were breaking up theater chains. Bogart performed in his final films for Warners, Chain Lightning and The Enforcer, both released early in 1950.

Under Bogart's Santana Productions, which released through Columbia Pictures, Bogart starred in Knock on Any Door (1949), Tokyo Joe (1949), In a Lonely Place (1950), Sirocco (1951) and Beat the Devil (1954). While the majority of his films lost money at the box office (the main reason for Santana's end), at least two of them are still remembered today; In a Lonely Place is now recognized as a masterpiece of film noir. Bogart plays embittered writer Dixon Steele, who has a history of violence and becomes a suspect in a murder case at the same time that he falls in love with a failed actress, played by Gloria Grahame. Many Bogart biographers and actress/writer Louise Brooks agree that the role is the closest to Bogart's real self and is considered among his best performances. She wrote that the film “gave him a role that he could play with complexity, because the film character's pride in his art, his selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real Bogart”. The character even mimics some of Bogart's personal habits, including twice ordering Bogart's favorite meal of ham and eggs.

Beat the Devil, his last film with his close friend and favorite director John Huston, also enjoys a cult following. Co-written by Truman Capote, the movie is a parody of The Maltese Falcon, and is a tale of an amoral group of rogues chasing an unattainable treasure, in this instance uranium.

Bogart sold his interest in Santana to Columbia for over $1 million in 1955.

The African Queen

Bogart starred with Katharine Hepburn in the movie The African Queen in 1951, again directed by his friend John Huston. The novel was overlooked and left undeveloped for fifteen years until producer Sam Spiegel and Huston bought the rights. Spiegel sent Katharine Hepburn the book and she suggested Bogart for the male lead, firmly believing that “he was the only man who could have played that part”. Huston's love of adventure, a chance to work with Hepburn, and Bogart's earlier successes with Huston convinced Bogart to leave the comfortable confines of Hollywood for a difficult shoot on location in the Belgian Congo in Africa. Bogart was to get 30 percent of the profits and Hepburn 10 percent, plus a relatively small salary for both. The stars met up in London and announced the happy prospect of working together.

Bacall came for the duration (over four months), leaving their young child behind, but the Bogarts started the trip with a junket through Europe, including a visit with Pope Pius XII. Later, the glamor would be gone and she would make herself useful as a cook, nurse and clothes washer, for which Bogart praised her, “I don’t know what we’d have done without her. She Luxed my undies in darkest Africa”. Just about everyone in the cast came down with dysentery except Bogart and John Huston, who subsisted on canned food and alcohol. Bogart explained: "All I ate was baked beans, canned asparagus and Scotch whisky. Whenever a fly bit Huston or me, it dropped dead." The teetotaling Hepburn, in and out of character, fared worse in the difficult conditions, losing weight, and at one time, getting very ill. Bogart resisted Huston's insistence on using real leeches in a key scene where Bogart has to drag the boat through a shallow marsh, until reasonable fakes were employed. In the end, the crew overcame illness, soldier ant invasions, leaking boats, poor food, attacking hippos, bad water filters, fierce heat, isolation, and a boat fire to complete a memorable film. Despite the discomfort of jumping from the boat into swamps, rivers and marshes the film apparently rekindled in Bogart his early love of boats and on his return to California from the Congo he bought a classic mahogany Hacker-Craft runabout which he kept until his premature death.

The African Queen was the first Technicolor film in which Bogart appeared. Remarkably, he appeared in relatively few color films during the rest of his career, which continued for another five years. (His other color films included The Caine Mutiny, The Barefoot Contessa, We're No Angels and The Left Hand of God.)

The role of Charlie Allnutt won Bogart his only Academy Award for Best Actor in a Leading Role in 1951. Bogart considered his performance to be the best of his film career. He had vowed to friends that if he won, his speech would break the convention of thanking everyone in sight. He advised Claire Trevor, when she had been nominated for Key Largo, to “just say you did it all yourself and don’t thank anyone”. But when Bogart won the Academy Award, which he truly coveted despite his well-advertised disdain for Hollywood, he said “It's a long way from the Belgian Congo to the stage of this theatre. It's nicer to be here. Thank you very much...No one does it alone. As in tennis, you need a good opponent or partner to bring out the best in you. John and Katie helped me to be where I am now”. Despite the thrilling win and the recognition, Bogart later commented, “The way to survive an Oscar is never to try to win another one...too many stars...win it and then figure they have to top themselves...they become afraid to take chances. The result: A lot of dull performances in dull pictures”.

Final roles

(1948)]] Bogart dropped his asking price to get the role of Captain Queeg in Edward Dmytryk's The Caine Mutiny, then griped with some of his old bitterness about it. For all his success, he was still his melancholy old self, grumbling and feuding with the studio, while his health was beginning to deteriorate.

Bogart gave a bravura performance as Captain Queeg, an unstable naval officer, in many ways an extension of the character he had played in The Maltese Falcon, Casablanca and The Big Sleep—the wary loner who trusts no one—but with none of the warmth or humor that made those characters so appealing. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart played a paranoid, self-pitying character whose small-mindedness eventually destroyed him. Three months before the film's release, Bogart as Queeg appeared on the cover of Time magazine, while on Broadway Henry Fonda was starring in the stage version (in a different role), both of which generated strong publicity for the film.

In Sabrina, Billy Wilder, unable to secure Cary Grant, chose Bogart for the role of the older, conservative brother who competes with his younger playboy sibling (William Holden) for the affection of the Cinderella-like Sabrina (Audrey Hepburn). Bogart was lukewarm about the part, but agreed to it on a handshake with Wilder, without a finished script, and with the director's assurances to take good care of Bogart during the filming. But Bogart got on poorly with his director and co-stars. He also complained about the script, which was written on a last-minute, daily basis, and that Wilder favored Hepburn and Holden on and off the set. The main problem was that Wilder was the opposite of his ideal director, John Huston, in both style and personality. Bogart told the press that Wilder was "overbearing" and "is the kind of Prussian German with a riding crop. He is the type of director I don’t like to work with... the picture is a crock of crap. I got sick and tired of who gets Sabrina." Wilder said, "We parted as enemies but finally made up." Despite the acrimony, the film was successful. The New York Times said of Bogart, "he is incredibly adroit... the skill with which this old rock-ribbed actor blend the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show."

The Barefoot Contessa, directed by Joseph Mankiewicz in 1954 and filmed in Rome, gave Bogart one of his subtlest roles. In this Hollywood back-story movie, Bogart again is the broken-down man, this time the cynical director-narrator who saves his career by making a star of a flamenco dancer Ava Gardner, modeled on the real life of Rita Hayworth. Bogart was uneasy with Gardner because she had just split from "rat-pack" buddy Frank Sinatra and was carrying on with bullfighter Luis Miguel Dominguín. Bogart told her, "Half the world's female population would throw themselves at Frank's feet and here you are flouncing around with guys who wear capes and little ballerina slippers." He was also annoyed by her inexperienced performance. Later, she credited him with helping her. Bogart's performance was generally praised as the strongest part of the film. During the filming, while Bacall was home, Bogart resumed his discreet affair with Verita Peterson, his long-time studio assistant whom he took sailing and enjoyed drinking with. But when Bacall suddenly arrived on the scene discovering them together, Bacall took it quite well. She extracted an expensive shopping spree from him and the three traveled together after the shooting.

Bogart could be generous with actors, particularly those who were blacklisted, down on their luck, or having personal problems. During the filming of The Left Hand of God (1955), he noticed his co-star Gene Tierney having a hard time remembering her lines and also behaving oddly. He coached Tierney, feeding her lines. He was familiar with mental illness (his sister had bouts of depression), and Bogart encouraged Tierney to seek treatment, which she did. He also stood behind Joan Bennett and insisted on her as his co-star in We're No Angels when a scandal made her persona non grata with Jack Warner.

In 1955, he made three films: We're No Angels (dir. Michael Curtiz), The Left Hand of God (dir. Edward Dmytryk) and The Desperate Hours (dir. William Wyler). Mark Robson's The Harder They Fall (1956) was his last film.

Television work

Bogart rarely appeared on television. However, he and Lauren Bacall appeared on Edward R. Murrow's Person to Person. Bogart was also featured on The Jack Benny Show. The surviving kinescope of the live Benny telecast features Bogart in his only TV sketch comedy outing. Bogart and Bacall also worked together on an early color telecast, in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase; only a black and white kinescope of the live telecast has survived.

Radio work

Bogart performed radio adaptations of some of his best known films, such as Casablanca and The Maltese Falcon. He also recorded a long-running radio series called Bold Venture with Lauren Bacall.

Filmography

The Rat Pack

Bogart was a founding member of the Rat Pack. In the spring of 1955, after a long party in Las Vegas with Frank Sinatra, Judy Garland, her husband, Sid Luft, Mike Romanoff and wife Gloria, David Niven, Angie Dickinson and others, Lauren Bacall surveyed the wreckage of the party and declared, "You look like a goddamn rat pack."

Romanoff's in Beverly Hills was where the Rat Pack became official. Sinatra was named Pack Leader, Bacall was named Den Mother, Bogie was Director of Public Relations, and Sid Luft was Acting Cage Manager. When asked by columnist Earl Wilson what the purpose of the group was, Bacall responded "to drink a lot of bourbon and stay up late."

Bogart was a United States Chess Federation tournament director and active in the California State Chess Association, and a frequent visitor to the Hollywood chess club. In 1945, the cover of the June–July issue of Chess Review showed Bogart playing with Charles Boyer, as Lauren Bacall (who also played) looks on. In June 1945, in an interview in the magazine Silver Screen, when asked what things in life mattered most to him, he replied that chess was one of his main interests. He added that he played chess almost daily, especially between film shootings. He loved the game all his life.

Death

By the mid-1950s, Bogart's health was failing. Once, after signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. That sent a fuming Jack Warner to his lawyers. Bogart had formed a new production company and had plans for a new film Melville Goodwin, U.S.A., in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore and he dropped the project. The film was re-named Top Secret Affair and made with Kirk Douglas and Susan Hayward.

Bogart, a heavy smoker and drinker, contracted cancer of the esophagus. He almost never spoke of his failing health and refused to see a doctor until January 1956. A diagnosis was made several weeks later and by then removal of his esophagus, two lymph nodes and a rib on March 1, 1956 was too late to halt the disease, even with chemotherapy. He underwent corrective surgery in November 1956 after the cancer had spread.

Katharine Hepburn and Spencer Tracy came to see him. Frank Sinatra was also a frequent visitor. Bogart was too weak to walk up and down stairs. He valiantly fought the pain and tried to joke about his immobility: "Put me in the dumbwaiter and I'll ride down to the first floor in style." Which is what happened; the dumbwaiter was altered to accommodate his wheelchair. Hepburn, in an interview, described the last time she and Spencer Tracy saw Bogart (the night before he died):

Bogart had just turned 57 and weighed 80 pounds (36 kg) when he died on January 14, 1957 after falling into a coma. He died at 2:25 a.m. at his home at 232 Mapleton Drive in Holmby Hills, California. His simple funeral was held at All Saints Episcopal Church with musical selections played from Bogart's favorite composers, Johann Sebastian Bach and Claude Debussy. It was attended by some of Hollywood's biggest stars including: Katharine Hepburn, Spencer Tracy, David Niven, Ronald Reagan, James Mason, Danny Kaye, Joan Fontaine, Marlene Dietrich, Errol Flynn, Gregory Peck and Gary Cooper, as well as Billy Wilder and Jack Warner. Bacall had asked Spencer Tracy to give the eulogy, but Tracy was too upset, so John Huston gave the eulogy instead, and reminded the gathered mourners that while Bogart's life had ended far too soon, it had been a rich one.

His cremated remains are interred in Forest Lawn Memorial Park Cemetery, Glendale, California. Buried with him is a small gold whistle, which he had given to his future wife, Lauren Bacall, before they married. In reference to their first movie together, it was inscribed: "If you want anything, just whistle."

Awards and honors

.]] On August 21, 1946 Humphrey Bogart was honored in a ceremony at Grauman's Chinese Theater to record his hand and footprints in cement. On February 8, 1960 he was posthumously given a star on the Hollywood Walk of Fame at 6322 Hollywood Boulevard. During his career he was nominated for several awards including the BAFTA award for best foreign actor in 1952 for The African Queen and several Academy Awards.

Tributes

After his death, a "Bogie Cult" formed at the Brattle Theatre in Cambridge, Massachusetts, as well as Greenwich Village, New York and in France, which contributed to his spike in popularity in the late 1950s and 1960s.

In 1997, Entertainment Weekly magazine named him the number one movie legend of all time. In 1999, the American Film Institute ranked him the Greatest Male Star of All Time.

Jean-Luc Godard's Breathless (1960) was the first film to pay tribute to Bogart. Later, in Woody Allen's comic tribute to Bogart Play It Again, Sam (1972), Bogart's ghost comes to the aid of Allen's bumbling character, a movie critic with woman troubles and whose "sex life has turned into the 'Petrified Forest'".

In 1997, the United States Postal Service featured Bogart in its "Legends of Hollywood" series.

Quotations

Bogart is credited with five of the American Film Institute's top 100 quotations in American cinema, the most by any actor:

5th: "Here's looking at you, kid" – Casablanca

14th: "The stuff that dreams are made of." – The Maltese Falcon

20th: "Louis, I think this is the beginning of a beautiful friendship." – Casablanca

43rd: "We'll always have Paris." – Casablanca

67th: "Of all the gin joints in all the towns in all the world, she walks into mine." – Casablanca

In popular culture

Humphrey Bogart's life has spurred the imaginations of many writers and others:

The Fedora variation the "Bogart" was named for the actor.

The film Friday the 13th (1980) features Mark Nelson as Ned who does an impression of Bogart, uttering the line "You know, you're beautiful when you're angry, sweetheart,".

Two Bugs Bunny cartoons featured Humphrey Bogart:

* In Slick Hare (1947), Bogart orders fried rabbit in a Hollywood restaurant. Told that they do not have any, he becomes insistent, leading waiter Elmer Fudd to try (unsuccessfully as usual) to serve Bugs as the meal. Bogart finally gives up, saying: "Baby will just have to have a ham sandwich instead." – "Baby" being Bacall's nickname. Bugs, upon hearing the name, immediately presents himself and goes completely ga-ga over Bacall, who looks on with amusement.

* In 8 Ball Bunny (1950) Bugs decides to take a baby penguin back to the South Pole. At intervals, "Fred C. Dobbs" (Bogart's character in Treasure of the Sierra Madre) appears and asks Bugs to "help a poor American down on his luck" – a line Bogart says a number of times in the film to John Huston, playing an American gringo.

In V. S. Naipaul's Miguel Street (1959), a character renames himself "Bogart" after Casablanca is shown in Trinidad.

Bogart is featured in one of Woody Allen's comic movies, Play It Again, Sam (1972), which relates the story of a young man obsessed by his persona.

Issue #70 of the US The Phantom (1977) comic book is known as the "Bogart" issue, as the story stars Humphrey Bogart, Lauren Bacall, Sydney Greenstreet, Peter Lorre and Claude Rains and is a mixture of Casablanca, The African Queen, The Maltese Falcon and The Treasure of the Sierra Madre.

The Man With Bogart's Face (1981) movie starred Bogart lookalike Robert Sacchi.

The comic book series The Bogie Man features a mental patient who believes that he is an amalgam of various Bogart film characters.

The slang term "bogarting" refers to taking an unfairly long time with a cigarette, drink, et cetera, that is supposed to be shared (e.g., "Don't bogart that joint!"). It derives from Bogart's style of cigarette smoking, with which he left his cigarette dangling from his mouth rather than withdrawing it between puffs.

See also

Bogart-Bacall syndrome

Notes

References

Bacall, Lauren. By Myself. New York: Alfred Knopf, 1979. ISBN 0-394-41308-3.

Bogart, Stephen Humphrey. Bogart: In Search of My Father. New York: Dutton, 1995. ISBN 0-525-93987-3.

Bogart, Humphrey. "I'm no communist" Photoplay Magazine, March 1948.

Citro, Joseph A.,Mark Sceurman and Mark Moran.Weird New England. New York: Sterling, 2005. ISBN 1-40273-330-5.

Halliwell, Leslie.Halliwell's Film, Video and DVD Guide. New York: Harper Collins Entertainment, 2004. ISBN 0-00-719081-6.

Hepburn, Katharine. The Making of the African Queen. New York: Alfred Knopf, 1987. ISBN 0-394-56272-0.

Hill, Jonathan and Jonah Ruddy. Bogart: The Man and the Legend. London: Mayflower-Dell, 1966.

"Humphrey Bogart (cover story)." Time Magazine, June 7, 1954.

Hyams, Joe. Bogart and Bacall: A Love Story. New York: David McKay Co., Inc., 1975. ISBN 0-44691-228-X.

Hyams, Joe. Bogie: The Biography of Humphrey Bogart. New York: New American Library, 1966 (later editions renamed as: Bogie: The Definitive Biography of Humphrey Bogart). ISBN 0-45109-189-2.

Meyers, Jeffrey. Bogart: A Life in Hollywood. London: Andre Deutsch Ltd., 1997. ISBN 0-233-99144-1.

Michael, Paul. Humphrey Bogart: The Man and his Films. New York: Bonanza Books, 1965. No ISBN.

Porter, Darwin. The Secret Life of Humphrey Bogart: The Early Years (1899–1931). New York: Georgia Literary Association, 2003. ISBN 0-9668030-5-1.

Pym, John, ed. "Time Out" Film Guide. London: Time Out Group Ltd., 2004. ISBN 1-904978-21-5.

Sperber, A.M. and Eric Lax. Bogart. New York: William Morrow & Co., 1997. ISBN 0-68807-539-8.

Tierney, Gene with Mickey Herskowitz.Self-Portrait. New York: Peter Wyden, 1979. ISBN 0-883261-52-9.

Wallechinsky, David and Amy Wallace. The New Book of Lists. Edinburgh, Scotland: Canongate, 2005. ISBN 1-84195-719-4.

Youngkin, Stephen D. The Lost One: A Life of Peter Lorre. Lexington, Kentucky: University Press of Kentucky, 2005, ISBN 0-813-12360-7.

External links

Humphrey Bogart Official Website

Bogie Online: The online resource for Humphrey Bogart fans

Modern Drunkard: Three Drinks Ahead With Humphrey Bogart

The Fundamental Rules Apply

Genealogy of Humphrey Bogart

Bogart: Behind the Legend (documentary)

Verita Thompson:Humphrey Bogart's Secret Mistress

Bibliography

Bold Venture radio show (32 episodes)

Tribute to Humphrey Bogart

Category:1898 births Category:1957 deaths Category:20th-century actors Category:Actors from New York City Category:American chess players Category:American Episcopalians Category:American film actors Category:American stage actors Category:Best Actor Academy Award winners Category:Burials at Forest Lawn Memorial Park (Glendale) Category:California Democrats Category:Cancer deaths in California Category:Deaths from esophageal cancer Category:New York Democrats Category:Phillips Academy alumni Category:United States Navy sailors

Name	Ida Lupino
Caption	publicty shot, 1934
Birth date	February 04, 1918
Birth place	Camberwell, London, UK
Death date	August 03, 1995
Death place	Los Angeles, California, U.S.
Years active	1931–1978
Occupation	Actress/Director
Spouse	Louis Hayward (1938–1945)Collier Young (1948–1951)Howard Duff (1951–1984)

Ida Lupino (4 February 1918 – 3 August 1995) was an English-American film actress and director, and a pioneer among women filmmakers. In her 48-year career, she appeared in 59 films and directed nine others. She also appeared in serial television programmes 58 times and directed 50 other episodes. In addition, she contributed as a writer to five films and four TV episodes.

Acting career

Lupino was born into a family of performers. Her father, Stanley Lupino, was a music-hall comedian, and her mother, Connie Emerald, was an actress. As a girl, Ida was encouraged to enter show business by both her parents and her uncle, Lupino Lane. She trained at RADA and made her first movie appearance in The Love Race (1931) and spent the next several years playing minor roles.

It was after her appearance in The Light That Failed (1939) that Lupino began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s, and she began to describe herself as "the poor man's Bette Davis."

During this period, Lupino became known for her hard-boiled roles, as in such films as They Drive by Night (1940) and High Sierra (1941), both opposite Humphrey Bogart. For her performance in The Hard Way (1943), Lupino won the New York Film Critics Circle Award for Best Actress. She acted regularly, and was in demand throughout the 1940s without becoming a major star until later. In 1947, Lupino left the Warner Brothers company to become a freelance actress. Notable films she appeared in around that time include Road House and On Dangerous Ground.

Directing career

(1953)]] In the mid-1940s, while on suspension for turning down a role, Lupino became interested in directing. She described herself as being bored on set while "someone else seemed to be doing all the interesting work."

Her first directing job came unexpectedly in 1949 when Elmer Clifton suffered a mild heart attack and could not finish Not Wanted, the film he was directing for Filmakers. Lupino stepped in to finish the film and went on to direct her own projects, becoming Hollywood's only female film director of the time.

In an article for the Village Voice, Carrie Rickey wrote that Lupino was a model of modern feminist moviemaking, stating:

Not only did Lupino take control of production, direction and screenplay, but each of her movies addresses the brutal repercussions of sexuality, independence, and dependence.

After four "woman's" films about social issues – including Outrage (1950), a film about rape – Lupino directed her first hard-paced, fast-moving picture, The Hitch-Hiker (1953), making her the first woman to direct a film noir. Writer Richard Koszarski noted that:

Her films display the obsessions and consistencies of a true auteur... [In her films The Bigamist and The Hitch-Hiker Lupino was able to reduce the male to the same sort of dangerous, irrational force that women represented in most male-directed examples of Hollywood film noir.

Lupino often joked that if she had been the "poor man's Bette Davis" as an actress, then she had become the "poor man's Don Siegel" as a director. In 1952, Lupino was invited to become the "fourth star" in Four Star Productions by Dick Powell, David Niven, and Charles Boyer, after Joel McCrea and Rosalind Russell had dropped out of the company.

Television

Lupino continued acting throughout the 1950s, 1960s and 1970s, and her directing efforts during these years were almost exclusively television productions such as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Gun – Will Travel, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Investigators, The Ghost & Mrs. Muir, The Rifleman, The Virginian, Batman, Sam Benedict, Bonanza, The Untouchables, The Fugitive, Columbo, and Bewitched. She guest-starred on The Streets of San Francisco in the second season episode "Blockade" that aired on January 24, 1974.

From January through September , Lupino starred with her then husband, Howard Duff, in the CBS sitcom Mr. Adams and Eve, in which the duo played husband and wife film stars named Howard Adams and Eve Drake, living in Beverly Hills, California. Olive Carey played their housekeeper, Elsie, in the 66-episode series, and Alan Reed played J. B. Hafter, their studio boss. Duff and Lupino also co-starred as themselves in 1959 in one of the 13 one-hour installments of The Lucy–Desi Comedy Hour. Later in her acting career, Lupino guest-starred on numerous television programs, before she retired at the age of 60. She made her final movie appearance in 1978.

Awards and homage

Lupino has two stars on the Hollywood Walk of Fame for her contributions to the fields of television and motion pictures. They are located at 1724 Vine Street and 6821 Hollywood Boulevard. Lupino is the titular subject of a jazz homage composed by Carla Bley in 1964, originally for the album Turning Point.

Personal life

Lupino was born in Camberwell, London, (allegedly under a table during a World War I zeppelin raid) to actress Connie O'Shea (Connie Emerald) and music hall entertainer Stanley Lupino, a member of the theatrical Lupino family. Ida's birth year is 1918 and not 1914 as some biographies have claimed.

Filmography

, 1943]] {| class=wikitable ! rowspan=2|Year !! rowspan=2|Title !! colspan=3|Credited as |- ! Director !! Actress !! Role |- align=left | 1931|| The Love Race|| || Align=center bgcolor=#90ff90|Yes|| Minor Supporting Role |- align=left | 1932|| Her First Affaire|| || Align=center bgcolor=#90ff90|Yes|| Anne |- align=left | rowspan=5|1933|| The Ghost Camera|| || Align=center bgcolor=#90ff90|Yes|| Mary Elton |- align=left | High Finance|| || Align=center bgcolor=#90ff90|Yes|| Jill |- align=left | Money for Speed|| || Align=center bgcolor=#90ff90|Yes|| Jane |- align=left | I Lived with You|| || Align=center bgcolor=#90ff90|Yes|| Ada Wallis |- align=left | Prince of Arcadia|| || Align=center bgcolor=#90ff90|Yes|| The Princess |- align=left | rowspan=3|1934|| Search for Beauty|| || Align=center bgcolor=#90ff90|Yes|| Barbara Hilton |- align=left | Come on Marines|| || Align=center bgcolor=#90ff90|Yes|| Esther Smith-Hamilton |- align=left | Ready for Love|| || Align=center bgcolor=#90ff90|Yes|| Marigold Tate |- align=left | rowspan=4|1935|| Paris in Spring|| || Align=center bgcolor=#90ff90|Yes|| Mignon de Charelle |- align=left | Smart Girl|| || Align=center bgcolor=#90ff90|Yes|| Pat Reynolds |- align=left | Peter Ibbetson|| || Align=center bgcolor=#90ff90|Yes|| Agnes |- | La Fiesta de Santa Barbara || || Align=center bgcolor=#90ff90|Yes|| Herself |- align=left | rowspan=4|1936|| Anything Goes|| || Align=center bgcolor=#90ff90|Yes|| Hope Harcourt |- align=left | One Rainy Afternoon|| || Align=center bgcolor=#90ff90|Yes|| Monique Pelerin |- align=left | Yours for the Asking|| || Align=center bgcolor=#90ff90|Yes|| Gert Malloy |- align=left | The Gay Desperado|| || Align=center bgcolor=#90ff90|Yes|| Jane |- align=left | rowspan=4|1937|| Sea Devils|| || Align=center bgcolor=#90ff90|Yes|| Doris Malone |- align=left | Let's Get Married|| || Align=center bgcolor=#90ff90|Yes|| Paula Quinn |- align=left | Artists & Models|| || Align=center bgcolor=#90ff90|Yes|| Paula Sewell aka Paula Monterey |- align=left | Fight for Your Lady|| || Align=center bgcolor=#90ff90|Yes|| Marietta |- align=left | rowspan=5|1939|| The Lone Wolf Spy Hunt|| || Align=center bgcolor=#90ff90|Yes|| Val Carson |- align=left | The Lady and the Mob|| || Align=center bgcolor=#90ff90|Yes|| Lila Thorne |- align=left | The Adventures of Sherlock Holmes|| || Align=center bgcolor=#90ff90|Yes|| Ann Brandon |- align=left | |The Light That Failed|| || Align=center bgcolor=#90ff90|Yes|| Bessie Broke |- | Screen Snapshots Series 18, No. 6 || || Align=center bgcolor=#90ff90|Yes|| Herself |- align=left | 1940|| They Drive by Night|| || Align=center bgcolor=#90ff90|Yes|| Lana Carlsen |- align=left | rowspan=4|1941|| High Sierra|| || Align=center bgcolor=#90ff90|Yes|| Marie |- align=left | The Sea Wolf|| || Align=center bgcolor=#90ff90|Yes|| Ruth Webster |- align=left | Out of the Fog|| || Align=center bgcolor=#90ff90|Yes|| Stella Goodwin |- align=left | Ladies in Retirement|| || Align=center bgcolor=#90ff90|Yes|| Ellen Creed |- align=left | rowspan=2|1942|| Moontide|| || Align=center bgcolor=#90ff90|Yes|| Anna |- align=left | Life Begins at Eight-Thirty|| || Align=center bgcolor=#90ff90|Yes|| Kathy Thomas |- align=left | rowspan=3|1943|| Forever and a Day|| || Align=center bgcolor=#90ff90|Yes|| Jenny |- align=left | The Hard Way|| || Align=center bgcolor=#90ff90|Yes|| Mrs. Helen Chernen |- | Thank Your Lucky Stars || || Align=center bgcolor=#90ff90|Yes || Herself |- align=left | rowspan=2|1944|| In Our Time|| || Align=center bgcolor=#90ff90|Yes|| Jennifer Whittredge |- align=left | ''Hollywood Canteen || || Align=center bgcolor=#90ff90|Yes || Herself |- align=left | 1945|| Pillow to Post|| || Align=center bgcolor=#90ff90|Yes|| Jean Howard |- align=left | 1946|| Devotion|| || Align=center bgcolor=#90ff90|Yes|| Emily Bronte |- align=left | rowspan=3|1947|| The Man I Love|| || Align=center bgcolor=#90ff90|Yes|| Petey Brown |- align=left | Deep Valley|| || Align=center bgcolor=#90ff90|Yes|| Libby Saul |- align=left | Escape Me Never|| || Align=center bgcolor=#90ff90|Yes|| Gemma Smith |- align=left | 1948|| Road House|| || Align=center bgcolor=#90ff90|Yes|| Lily Stevens |- align=left | rowspan=3|1949|| Lust for Gold|| || Align=center bgcolor=#90ff90|Yes|| Julia Thomas |- align=left | Not Wanted|| Align=center bgcolor=#90ff90|Yes|| || |- align=left | Never Fear|| Align=center bgcolor=#90ff90|Yes|| || |- align=left | rowspan=2|1950|| Woman in Hiding|| || Align=center bgcolor=#90ff90|Yes|| Deborah Chandler Clark |- align=left | Outrage|| Align=center bgcolor=#90ff90|Yes|| Align=center bgcolor=#90ff90|Yes|| Country Dance Attendee |- align=left | rowspan=1|1951|| Hard, Fast and Beautiful|| Align=center bgcolor=#90ff90|Yes|| Align=center bgcolor=#90ff90|Yes|| Seabright Tennis Match Spectator |- align=left | 1951|| On the Loose|| || Align=center bgcolor=#90ff90|Yes|| Narrator |- align=left | rowspan=2|1952|| On Dangerous Ground|| || Align=center bgcolor=#90ff90|Yes|| Mary Malden |- align=left | Beware, My Lovely|| || Align=center bgcolor=#90ff90|Yes|| Mrs. Helen Gordon |- align=left | rowspan=3|1953|| The Hitch-Hiker|| Align=center bgcolor=#90ff90|Yes|| || |- align=left | Jennifer|| || Align=center bgcolor=#90ff90|Yes|| Agnes Langley |- align=left | The Bigamist|| Align=center bgcolor=#90ff90|Yes|| Align=center bgcolor=#90ff90|Yes|| Phyllis Martin |- align=left | 1954|| Private Hell 36|| || Align=center bgcolor=#90ff90|Yes|| Lilli Marlowe |- align=left | rowspan=2|1955|| Women's Prison|| || Align=center bgcolor=#90ff90|Yes|| Amelia van Zandt |- align=left | The Big Knife|| || Align=center bgcolor=#90ff90|Yes|| Marion Castle |- align=left | rowspan=2|1956|| While the City Sleeps|| || Align=center bgcolor=#90ff90|Yes|| Mildred Donner |- align=left | Strange Intruder|| || Align=center bgcolor=#90ff90|Yes|| Alice Carmichael |- align=left | 1966|| The Trouble with Angels|| Align=center bgcolor=#90ff90|Yes|| || |- align=left | 1972|| Junior Bonner|| || Align=center bgcolor=#90ff90|Yes|| Elvira Bonner |- align=left | 1975|| The Devil's Rain|| || Align=center bgcolor=#90ff90|Yes|| Mrs. Preston |- align=left | 1976|| The Food of the Gods|| || Align=center bgcolor=#90ff90|Yes|| Mrs. Skinner |- align=left | 1977|| Charlie's Angels|| || Align=center bgcolor=#90ff90|Yes|| Gloria Gibson |- align=left | 1978|| My Boys Are Good Boys|| || Align=center bgcolor=#90ff90|Yes|| Mrs. Morton |}

Notes

External links

Category:1918 births Category:1995 deaths Category:Alumni of the Royal Academy of Dramatic Art Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Deaths from stroke Category:English film actors Category:English film directors Category:English immigrants to the United States Category:English television actors Category:English-language film directors Category:Female film directors Category:Naturalized citizens of the United States Category:People from Camberwell Category:Saturn Award winners

Thomas Edwin Reed Cook (5 January 1901 - 15 January 1950) was an English cricketer for Sussex County Cricket Club. He was also a professional footballer with Brighton & Hove Albion and Bristol Rovers, who made one appearance for England in 1925. He later became manager at Brighton.

A right-handed batsman, he played 460 first class games for Sussex, making 20198 runs with 32 hundreds. He was prolific in the seasons of 1933 and 1934 where Sussex were runners-up.

Thomas served in both world wars, suffering serious injuries in the latter when part of the South African Air Force.

He committed suicide ten days after his 49th birthday.

External links

Category:1901 births Category:1950 deaths Category:Sussex cricketers Category:English cricketers Category:English footballers Category:English football managers Category:England international footballers Category:Brighton & Hove Albion F.C. players Category:Bristol Rovers F.C. players Category:People from Cuckfield

Name	Robert Farnon
Birthdate	July 24, 1917
Deathdate	April 23, 2005
Occupation	Canadian-born composer, conductor, musical arranger and trumpet player.
Influenced	}}

Robert Joseph Farnon (July 24, 1917April 23, 2005) was a Canadian-born composer, conductor, musical arranger and trumpet player. As well as being a famous composer of original works (often in the light music genre, but also for film and television), he was recognised as one of the finest arrangers of his generation. In later life he composed a number of more serious orchestral works, including three symphonies, and was recognised with the four Ivor Novello awards and the Order of Canada.

Life

Born in Toronto, Ontario, he was commissioned as a captain in the Canadian Army and became the conductor/arranger of the Canadian Band of the Supreme Headquarters Allied Expeditionary Force sent overseas during World War II, which was the Canadian equivalent of the American Band of the SHAEF led by Major Glenn Miller. He was noted as a Jazz trumpeter - his long time friend Dizzy Gillespie once stated that he was pleased that Farnon took up composing, arranging and conducting as Robert was the better jazz trumpeter.

He married Joanne Dallas, a talented singer from the SHAEF band, which performed in London during the war years. At the end of the war, Farnon decided to make England his home, and he later moved to Guernsey in the Channel Islands with his wife and children. His friend, the composer Wally Stott composed "A Canadian in Mayfair" as a tribute.

He was considered by his peers the finest arranger in the world, and his talents influenced many composer-arrangers including Quincy Jones, all of whom acknowledge his contributions to their work. Conductor André Previn called him "the greatest writer for strings in the world."

He won four Ivor Novello Awards including one for "Outstanding Services to British Music" in 1991 and in 1996 he won the Grammy Award for Best Instrumental Arrangement for "Lament" performed by J. J. Johnson & his Robert Farnon Orchestra. He was also awarded the Order of Canada early in 1998.

Robert Farnon died at the age of eighty-seven at a hospice near his home of forty years in Guernsey. He was survived by his wife Patricia and their five children.

Works

Robert Farnon is probably best known for two famous pieces of light music, "Jumping Bean" and "Portrait of a Flirt", which were originally released as the A and B sides on the same 78. Also famous are his "Westminster Waltz", "Destiny Waltz" and "A Star is Born".

Farnon also wrote the music for more than forty motion pictures including Maytime in Mayfair (1949) and Captain Horatio Hornblower R.N. (1951) and for a number of television series and miniseries including The Prisoner, Secret Army, Colditz, and A Man Called Intrepid.

In 1962 Farnon arranged and conducted Frank Sinatra's only album recorded outside of the United States, Sinatra Sings Great Songs from Great Britain.

He also completed three full-length classical symphonies, a concerto for piano and orchestra called Cascades to the Sea and a concerto for bassoon.

The last piece he composed was titled The Gaels: An American Wind Symphony, as a commission to the Roxbury High School band in honor of the school's mascot, the gael. The piece made its world debut in May 2006. It was performed by the Roxbury High School Honors Wind Symphony under the direction of Dr. Stanley Saunders, a close friend of Farnon.

References

External links

The Robert Farnon Society

The Encyclopedia of Music in Canada

Robert Farnon - Northern Stars

Robert Farnon at the Internet Movie Database

See also

Music of Canada

List of Canadian composers

Category:1917 births Category:2005 deaths Category:Canadian composers Category:Canadian conductors (music) Category:Canadian film score composers Category:Canadian music arrangers Category:English composers Category:English conductors (music) Category:Grammy Award winners Category:Light music composers Category:Musicians from Ontario Category:People from Toronto

Bgcolour	silver
Name	Max Steiner
Birth name	Maximilian Raoul Steiner
Birth date	May 10, 1888
Birth place	Vienna, Austria-Hungary (now Austria)
Death date	December 28, 1971
Death place	Hollywood, California, USA
Occupation	composer, arranger, conductor

Max Steiner (May 10, 1888 – December 28, 1971) was an Austrian composer of music for theatre productions and films. He later became a naturalized citizen of the United States. Trained by the great classical music composers Brahms and Mahler, he was one of the first composers who primarily wrote music for motion pictures, and as such is often referred to as "the father of film music". Along with such composers as Franz Waxman, Erich Wolfgang Korngold, Alfred Newman and Miklós Rózsa, Steiner played a major part in creating the tradition of writing music for films.

Steiner composed hundreds of film scores, including The Informer (1935), Now, Voyager (1942), and Since You Went Away (1944), which won him Academy Awards. He was nominated for the Academy Award a total of twenty six times, a record surpassed only by Alfred Newman and John Williams for the most nominations received by a composer. Three of his scores were also nominated at a time when composers were not eligible to be nominated in the Original Score category.

Steiner was one of the best-known composers in Hollywood, and is widely regarded today as one of the greatest film score composers in the history of cinema. He was a frequent collaborator with some of the most famous film directors in history, including John Ford and William Wyler. Besides his Oscar-winning scores, some of Steiner's popular works include King Kong (1933), Little Women (1933), Jezebel (1938), Casablanca (1942), and the film score for which he is possibly best known, Gone with the Wind (1939). Despite being one of the most popular film soundtracks ever written, Gone with the Wind failed to win an Oscar for him.

Early life

Steiner was born as Maximilian Raoul Steiner in Vienna, Austria-Hungary. Steiner later claimed that he was given, and rejected, the name Walter, but there is no evidence of this in his birth register, held at the Jewish community of Vienna. Later in life he purportedly discovered a half-brother named James Owen, with whom he co-wrote the song "Theme from A Summer Place". His paternal grandfather was Maximilian Steiner (1830–1880), the influential manager of Vienna's Theater an der Wien; his father was Gabor Steiner (1858–1944), Viennese impresario and carnival and exposition manager, responsible for the Ferris wheel in the Prater that would become the setting for a key scene of the film The Third Man (1949); his godfather was the composer Richard Strauss.

A child prodigy in composing, Steiner received piano instruction from Johannes Brahms and, at the age of sixteen, enrolled at the Imperial Academy of Music (now known as the University of Music and Performing Arts), where he was taught by Gustav Mahler among others. His musical aptitudes enabled him to complete the school's four-year program in only two. At the age of 16, Steiner wrote and conducted the operetta The Beautiful Greek Girl. At the start of World War I, he was working in London and was classified as an enemy alien but was befriended by the Duke of Westminster and given exit papers. He arrived in New York City in December 1914 with $32 to his name.

Steiner worked in New York for eleven years as a musical director, arranger, orchestrator, and conductor of Broadway operettas and musicals written by Victor Herbert, Jerome Kern, Vincent Youmans, and George Gershwin, among others. Steiner's credits include: George White's Scandals (1922), Lady, Be Good (1924), and Rosalie (1928).

In 1929, Steiner went to Hollywood to orchestrate the European film version of the Florenz Ziegfeld show Rio Rita for RKO. The score for King Kong (1933) made Steiner's reputation; it was one of the first American films to have an extensive musical score. He conducted the scores for several Fred Astaire-Ginger Rogers musicals, including Top Hat (1935) and Roberta (1935).

Movie career

Steiner's first screen credit was an as orchestrator for the score of the 1930 film Dixiana. His first credit as a composer came the following year, for Cimarron. He received his first two Oscar nominations for John Ford's 1934 film The Lost Patrol, and the same year for The Gay Divorcee. He won his first Oscar the following year the Ford's The Informer. At the time, the Oscar was awarded to the head of the studio music department, not the composer, although in this case that was Steiner anyway (the next year, Erich Wolfgang Korngold's score to "Anthony Adverse" won the Oscar, but studio music head Leo F. Forbstein was the actual recipient, as per the rules). It was not until 1938 that the composer of the score was eligible for the nomination (coincidentally, that was Korngold, who won for his score from "The Adventures of Robin Hood").

Steiner scored several films produced by RKO, the final of which was Follow the Fleet. He left RKO in 1936 and soon became the musical director of Selznick International Pictures.

In April 1937, he signed a long-term contract with Warner Bros., and the same year composed the famous fanfare which introduced pictures produced by the studio, although this is no longer in use (curiously, this was never used for the studio's television productions).

In 1939, Steiner was borrowed from Warner Bros. by David O Selznick to compose the score to Gone with the Wind. He was given only three months to compose a large amount of music for the film, whilst at the same time scoring We Are Not Alone, Dark Victory and Four Wives for Warner. Gone with the Wind and Dark Victory both earned him Academy Award nominations, however, he lost to the score of The Wizard of Oz by Herbert Stothart. Along with Clark Gable, Steiner was one of the few nominees for Gone with the Wind that did not win. Many feel that Steiner deserved the award. The score was ranked by the AFI as the second greatest American film score of all time.

Steiner received his next Oscar nomination for the 1940 film The Letter, his first of several collaborations with legendary director William Wyler. A further nomination followed the next year for Sergeant York. In 1942, Steiner won his second Oscar for Now, Voyager, and was also nominated for Casablanca, which remains one of his most famous scores. He received his third and final Oscar in 1944 for Since You Went Away.

Steiner's pace slowed significantly in the mid-fifties, and he began freelancing. In 1954, RCA Victor asked Steiner to prepare and conduct an orchestral suite of music from Gone with the Wind for a special LP, which was later issued on CD. There are also acetates of Steiner conducting the Warner Brothers studio orchestra in music from some of his film scores.

Steiner reunited with John Ford in 1956 to score The Searchers, widely considered the greatest western ever made. He returned to Warner-Bros in 1958 (although his contract ended in 1953) and scored several films, in addition to a rare venture into television composing a library of music for the fourth season of Hawaiian Eye. He continued to score films produced by Warner until the mid sixties.

Steiner's final original score was for the 1965 film Two on a Guillotine. His glossary of film scores encompasses over 300 film scores.

In 1963, Steiner began writing his autobiography, which, although completed, was never published, and is the source of a few biographical errors concerning this composer. A copy of the manuscript resides with the rest of the Max Steiner Collection at Brigham Young University in Provo, Utah.

Death

Steiner died of congestive heart failure in Hollywood, aged 83. He is entombed in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California.

Posthumous

After his death, Charles Gerhardt conducted the National Philharmonic Orchestra in an RCA Victor album of highlights from Steiner's career, titled Now Voyager. Additional selections of Steiner scores were included on other RCA classic film albums during the early 1970s. The quadraphonic recordings were later digitally remastered for Dolby surround sound and released on CD. In 1995, Steiner was inducted posthumously into the Songwriters Hall of Fame. He has a star located at 1551 Vine Street on the Walk of Fame for his contribution to motion pictures.

Additional filmography

The Bondman (1929) (uncredited)

Rio Rita (1929) (uncredited)

The Case of Sergeant Grischa (1930) (uncredited)

Dixiana (1930) (as Orchestrator - first screen credit)

Cimarron (1931)

What Price Hollywood? (1932)

Bird of Paradise (1932)

The Most Dangerous Game (1932)

A Bill of Divorcement (1932)

Thirteen Women (1932)

The Half-Naked Truth (1932)

The Animal Kingdom (1932)

Christopher Strong (1933)

Rafter Romance (1933)

King Kong (1933)

Son of Kong (1933)

Little Women (1933)

Morning Glory (1933)

Flying Down to Rio (1933) (as Musical Director)

The Lost Patrol (Academy Award nomination, 1934)

Of Human Bondage (1934)

The Fountain (1934)

The Age of Innocence (1934)

The Gay Divorcee (as Musical Director) (Academy Award nomination, 1934)

Anne of Green Gables (1934)

The Little Minister (1934)

Roberta (1935) (as Musical Director)

The Informer (1935) (Academy Award winner)

She (1935)

Top Hat (1935) (as Musical Director)

The Three Musketeers (1935)

Follow the Fleet (1936) (as Musical Director)

Little Lord Fauntleroy (1936)

The Garden of Allah (Academy Award nomination, 1936)

The Charge of the Light Brigade (1936)

A Star Is Born (1937)

Kid Galahad (1937)

''Snow White and the Seven Dwarfs (1937) (uncredited)

That Certain Woman (1937)

The Life of Emile Zola (1937)

Tovarich (1937) (first use of the Warner Bros. fanfare, composed by Steiner)

Gold is Where You Find It (1938)

The Adventures of Tom Sawyer (1938)

Jezebel (Academy Award nomination, 1938)

Crime School (1938)

Four Daughters (1938)

The Sisters (1938)

Angels with Dirty Faces (1938)

The Dawn Patrol (1938)

The Oklahoma Kid (1939)

Dodge City (1939)

Dark Victory (Academy Award nomination, 1939)

Confessions of a Nazi Spy (1939)

The Old Maid (1939)

The Wizard of Oz (1939) (replaced by Herbert Stohart)

Gone with the Wind (Academy Award nomination, 1939)

Virginia City (1940)

All This, and Heaven Too (1940)

The Letter (Academy Award nomination, 1940)

Santa Fe Trail (1940)

Shining Victory (1941)

They Died with Their Boots On (1941)

Sergeant York (Academy Award nomination, 1941)

Casablanca (Academy Award nomination, 1942)

Now, Voyager (1942) (Academy Award winner)

Captains of the Clouds (1942)

Since You Went Away (1944) (Academy Award winner)

The Adventures of Mark Twain (Academy Award nomination, 1944)

Mildred Pierce (1945)

Rhapsody in Blue (Academy Award nomination, shared with Ray Heindorf, 1945)

A Stolen Life (1946)

The Big Sleep (1946)

Night and Day (Academy Award nomination, shared with Ray Heindorf, 1946)

Life with Father (Academy Award nomination, 1947)

My Wild Irish Rose (Academy Award nomination, shared with Ray Heindorf, 1947)

The Treasure of the Sierra Madre (1948)

Winter Meeting (1948)

Johnny Belinda (Academy Award nomination, 1948)

Beyond the Forest (Academy Award nomination, 1949)

The Fountainhead (1949)

The Flame and the Arrow (Academy Award nomination, 1950)

The Glass Menagerie (1950)

Jim Thorpe -- All-American (1951)

The Miracle of Our Lady of Fatima (Academy Award nomination, 1952)

The Jazz Singer (Academy Award nomination, shared with Ray Heindorf, 1953)

So Big (1953)

The Charge at Feather River

The Caine Mutiny (Academy Award nomination, 1954)

Battle Cry (Academy Award nomination, 1955)

The Searchers (1956)

Band of Angels (1957)

A Summer Place (1959) (Theme U.S.#1 Hit Single)

The FBI Story (1959)

The Dark at the Top of the Stairs (1960)

Parrish (1961)

Spencer's Mountain (1963)

Youngblood Hawke (1964)

A Distant Trumpet (1964)

Two on a Guillotine (1965)

Those Calloways (1965)

Notes

Susan Slade 1961 Rome Adveneurt 1962

External links

Max Steiner at AmericanComposers.com

Category:1888 births Category:1971 deaths Category:Academy Award winners Category:American film score composers Category:Austrian immigrants to the United States Category:Deaths from congestive heart failure Category:Jewish classical musicians Category:Jewish composers and songwriters Category:Naturalized citizens of the United States Category:Opera composers Category:People from Vienna Category:People from Leopoldstadt Category:RCA Victor artists Category:Songwriters Hall of Fame inductees

Name	Lloyd Nolan
Birthname	Lloyd Benedict Nolan
Birth date	August 11, 1902
Birth place	San Francisco, California, USA
Death date	September 27, 1985
Death place	Los Angeles, California, USA
Yearsactive	1935–1985
Spouse	Mell Efrid (5/23/33-1/6/81) (her death)Virginia Dabney (1/26/83-9/27/85) (his death)

Lloyd Benedict Nolan (August 11, 1902 – September 27, 1985) was an American film and television actor.

Biography

Nolan was born in San Francisco, California, the son of Margaret and James Nolan, who was a shoe manufacturer. He began his career on stage and was subsequently lured to Hollywood, where he played mainly doctors, detectives, and police officers in many movie roles.

He was a brother to the Delta Kappa Epsilon fraternity (Sigma Rho chapter).

Film career

Although many critics hailed his acting ability and it was generally acknowledged that he never gave a bad performance, Nolan was relegated to B movies for the most part. Yet even so, he costarred with such actresses as Mae West, Dorothy McGuire, and the former Metropolitan Opera soprano, Gladys Swarthout. Under contract to Paramount and 20th Century Fox studios, he assayed starring roles in the late 30s and early-to-mid 40s and appeared as the lead character of the "Michael Shayne" detective series. Oddly, the first screen version of Raymond Chandler's novel The High Window was transformed in 1942 from a Philip Marlowe adventure into part of the Michael Shayne series starring Nolan as Shayne. The film was remade five years later as The Brasher Doubloon with George Montgomery as Marlowe.

The majority of Nolan's films comprised light entertainment with an emphasis on action. His most famous films include: Atlantic Adventure, costarring Nancy Carroll; Ebb Tide; Wells Fargo; Every Day's A Holiday, starring Mae West; Bataan; and A Tree Grows in Brooklyn, with Dorothy McGuire and James Dunn. He also gave a strong performance in the 1957 film Peyton Place with Lana Turner.

Nolan subsequently contributed many solid and key character parts in numerous other films. One of these films, The House on 92nd Street, was a startling anomaly to audiences in 1945. It was a conflation of several true incidents of attempted sabotage by the Nazi regime - incidents which the FBI was able to thwart during World War II - and many scenes were filmed on location in New York City, an unusual occurrence at the time. Nolan portrayed FBI agent Briggs, and actual FBI employees interacted with Nolan throughout the film. He repeated the role in a subsequent movie, The Street with No Name.

Other endeavors

Later in his career, he returned to the stage and appeared on television to great acclaim in The Caine Mutiny Court Martial, for which he received an Emmy award for portraying Captain Queeg, the role made famous by Humphrey Bogart. Nolan also made guest appearances in television shows including NBC's The Ford Show, Starring Tennessee Ernie Ford, The Bing Crosby Show, a sitcom on ABC and the Emmy-winning NBC anthology series The Barbara Stanwyck Show. He appeared in the NBC western Bonanza as LaDuke, a New Orleans detective. In 1967, he and Strother Martin guest starred in the episode "A Mighty Hunter Before the Lord" of NBC's The Road West series starring Barry Sullivan. Nolan co-starred in the pioneering NBC series Julia, with Diahann Carroll, who became the first African American to star in her own television series outside of the role of a domestic worker.

He founded the Jay Nolan Autistic Center (now known as Jay Nolan Community Services) in honor of his son Jay who had autism and was chairman of the annual Save Autistic Children Telethon.

Nolan died of lung cancer in Los Angeles at the age of eighty-three.

Filmography

G Men (1935)

Stolen Harmony (1935)

Atlantic Adventure (1935)

She Couldn't Take It (1935)

15 Maiden Lane (1936)

Internes Can't Take Money (1937)

Ebb Tide (1937)

Every Day's a Holiday (1937)

Wells Fargo (1937)

King of Alcatraz (1938)

Dangerous to Know (1938)

St. Louis Blues (1939)

The House Across the Bay (1940)

Johnny Apollo (1940)

The Man I Married (1940)

Blues In The Night (1941)

Sleepers West (1941)

Dressed to Kill (1941)

Time to Kill (1942)

Michael Shayne, Private Detective (1942)

The Man Who Wouldn't Die (1942)

Blue, White, & Perfect (1942)

Guadalcanal Diary (1943)

Bataan (1943)

A Tree Grows in Brooklyn (1945)

The House on 92nd Street (1945) as Agent George A. Briggs

Two Smart People (1946)

Somewhere in the Night (1946)

Lady in the Lake (1947)

Green Grass of Wyoming (1948)

The Street with No Name (1948) as Insp. George A. Briggs

The Sun Comes Up (1949)

Easy Living (1949)

The Lemon Drop Kid (1951)

Crazylegs (1953)

Island in the Sky (1953)

The Last Hunt (1956)

Toward the Unknown (1956)

A Hatful of Rain (1957)

Seven Waves Away (1957)

Peyton Place (1957) as Dr. Swain

Portrait in Black (1960)

The Girl of the Night (1960)

The Girl Hunters (1962)

We Joined The Navy (1962)

Circus World (1964)

An American Dream (1966)

Ice Station Zebra (1968)

Airport (1970)

Earthquake (1974)

Hannah and Her Sisters (1985)

References

Further reading

Lloyd Nolan: An Actor's Life With Meaning, by Joel Blumberg and Sandra Grabman. BearManor Media, Albany, 2010. ISBN 1593936001.

External links

Category:American film actors Category:American television actors Category:Actors from California Category:Cancer deaths in California Category:Deaths from lung cancer Category:People from San Francisco, California Category:1902 births Category:1985 deaths

Caption	in The Son of Monte Cristo (1940)
Birth name	Joan Geraldine Bennett
Birth date	February 27, 1910
Birth place	Palisades Park, New Jersey, U.S.
Death date	December 07, 1990
Death place	Scarsdale, New York, U.S.
Occupation	Actress
Years active	1916–1982
Spouse	(divorced) 1 child(divorced)1 child(divorced) 2 children

Joan Geraldine Bennett (February 27, 1910 – December 7, 1990) was an American stage, film and television actress. Besides acting on the stage, Bennett appeared in more than 70 motion pictures from the era of silent movies well into the sound era. She is possibly best-remembered for her film noir femme fatale roles in director Fritz Lang's movies such as The Woman in the Window (1944) and Scarlet Street (1945).

Bennett had three distinct phases to her long and successful career, first as a winsome blonde ingenue, then as a sensuous brunette femme fatale (with looks that movie magazines often compared to those of Hedy Lamarr), and finally as a warmhearted wife/mother figure.

In 1951, Bennett's screen career was marred by scandal after her third husband, film producer Walter Wanger, shot and injured her agent Jennings Lang. Wanger suspected that Lang and Bennett were having an affair, a charge which she adamantly denied. On the side of her maternal grandmother, actress Rose Wood, the profession dated back to traveling minstrels in 18th century England.

Bennett first appeared in a silent movie as a child with her parents and sisters in her father's drama The Valley of Decision (1916), which he adapted for the screen. She attended Miss Hopkins School for Girls in Manhattan, then St. Margaret's, a boarding school in Waterbury, Connecticut, and L'Hermitage, a finishing school in Versailles, France.

On September 15, 1926, she and John M. Fox were married in London. They were divorced on July 30, 1928 in Los Angeles. They had one child, Adrienne Ralston Fox (born February 20, 1928, later named Diana Bennett Markey, then Diana Bennett Wanger)

Career

(1929)]] Bennett's stage debut was at age 18, acting with her father in Jarnegan (1928), which ran on Broadway for 136 performances and for which she received good reviews. By age 19, she had become a movie star through such roles as Phyllis Benton in the mystery/thriller talkie Bulldog Drummond starring Ronald Colman, which was her first important role, and Lady Clarissa Pevensey opposite George Arliss in the biopic Disraeli (both 1929).

She moved quickly from movie to movie throughout the 1930s. Bennett appeared as a blonde (her natural hair color) for several years. She starred in the role of Dolores Fenton in the United Artists musical Puttin' on the Ritz (1930) opposite Harry Richman and as Faith Mapple, his beloved, opposite John Barrymore in an early sound version of Moby Dick (1930) at Warner Brothers Studios.

Under contract to Fox Film Corporation, she appeared in several movies. Receiving top billing, she played the role of Jane Miller opposite Spencer Tracy in She Wanted a Millionaire (1932). She was billed second, after Tracy, for her role as Helen Riley, a personable waitress who trades wisecracks, in Me and My Gal (1932).

(1933)]] On March 16, 1932, she married screenwriter/film producer Gene Markey in Los Angeles, but the couple divorced in Los Angeles on June 3, 1937. They had one child, Melinda Markey (born February 27, 1934).

Bennett left Fox to play Amy, a pert sister competing with Katharine Hepburn's Jo in Little Women (1933), which was directed by George Cukor for RKO. This movie brought Bennett to the attention of independent film producer Walter Wanger, who signed her to a contract and began managing her career. She played the role of Sally MacGregor, a psychiatrist's young wife slipping into insanity, in Private Worlds (1935) with Claudette Colbert, Charles Boyer, and Joel McCrea. Wanger and director Tay Garnett persuaded Bennett to change her hair from blonde to brunette for her role as Kay Kerrigan in the scenic Trade Winds (1938) opposite Fredric March.

(1944)]] With her change in appearance, Bennett began an entirely new screen career as her persona evolved into that of a glamorous, seductive femme fatale. She played the role of Princess Maria Theresa in The Man in the Iron Mask (1939) opposite Louis Hayward, and the role of the Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940) opposite Hayward.

During the search for an actress to play Scarlett O'Hara in Gone with the Wind, Bennett was given a screen test and impressed producer David O. Selznick to such an extent, she was one of the final four actresses along with Jean Arthur, Vivien Leigh and Paulette Goddard. Selznick eventualy cast Vivien Leigh in the coveted role.

On January 12, 1940, Bennett and Walter Wanger were married in Phoenix. They were divorced in September 1965 in Mexico. They had two children together, Stephanie Wanger (born June 26, 1943) and Shelley Wanger (born July 4, 1948).

Combined with her sultry eyes and husky voice, Bennett's new brunette look gave her an earthier, more arresting persona. She won praise for her performances as Brenda Bentley in the crime/drama The House Across the Bay (1940), also featuring George Raft, and as Carol Hoffman in the anti-Nazi drama The Man I Married, a film in which Francis Lederer also starred.

She then appeared in a sequence of highly regarded film noir thrillers directed by Fritz Lang, with whom she and Wanger formed their own production company. Bennett appeared in four movies under Lang's direction, including as Cockney prostitute Jerry Stokes in Man Hunt (1941) opposite Walter Pidgeon, as mysterious model Alice Reed in The Woman in the Window (1944) with Edward G. Robinson, and as vulgar blackmailer Katharine "Kitty" March in Scarlet Street (1945) another film with Robinson.

(1950)]] Bennett was the shrewish, cuckolding wife, Margaret Macomber in Zoltan Korda's The Macomber Affair (1947) opposite Gregory Peck, as the deceitful wife, Peggy, in Jean Renoir's The Woman on the Beach (also 1947) opposite Robert Ryan and Charles Bickford, and as the tormented blackmail victim Lucia Harper in Max Ophuls's The Reckless Moment (1949) opposite James Mason. Then, easily shifting images again, she changed her screen persona to that of an elegant, witty and nurturing wife and mother in two classic comedies directed by Vincente Minnelli.

Playing the role of Ellie Banks, wife of Spencer Tracy and mother of Elizabeth Taylor, Bennett appeared in both Father of the Bride (1950) and Father's Little Dividend (1951)

She made a number of radio appearances from the 1930s to the 1950s, performing on such programs as The Edgar Bergen and Charlie McCarthy Show, Duffy's Tavern, and the anthology series Lux Radio Theater.

With the increasing popularity of television, Bennett made five guest appearances in 1951, which includes an episode of Sid Caesar and Imogene Coca's Your Show of Shows. (1951)]]

Scandal

For twelve years, Bennett was represented by agent Jennings Lang. She and the onetime vice-president of the Sam Jaffe Agency, who now headed MCA's West Coast television operations, met on the afternoon of December 13, 1951, to talk over an upcoming TV show.

Bennett parked her Cadillac convertible in the lot at the back of the MCA offices, at Santa Monica Boulevard and Rexford Drive, across the street from the Beverly Hills Police Department, and she and Lang drove off in his car. Meanwhile, her husband Walter Wanger drove by at about 2:30 p.m. and noticed his wife's car parked there. Half an hour later, he again saw her car there and stopped to wait. Bennett and Lang drove into the parking lot a few hours later and he walked her to her convertible. As she started the engine, turned on the headlights and prepared to drive away, Lang leaned on the car, with both hands raised to his shoulders, and talked to her.

In a fit of jealousy, Wanger walked up and twice shot and wounded the unsuspecting agent. One bullet hit Jennings in the right thigh, near the hip, and the other penetrated his groin. Bennett said she did not see Wanger at first. She said she suddenly saw two livid flashes, then Lang slumped to the ground. As soon as she recognized who had fired the shots, she told Wanger, "Get away and leave us alone." He tossed the pistol into his wife's car.

She and the parking lot's service station manager took Lang to the agent's doctor. He was then taken to a hospital, where he recovered. The police, who had heard the shots, came to the scene and found the gun in Bennett's car when they took Wanger into custody. Wanger was booked and fingerprinted, and underwent lengthy questioning.

"I shot him because I thought he was breaking up my home," Wanger told the chief of police of Beverly Hills. He was booked on suspicion of assault with intent to commit murder. Bennett denied a romance, however. "But if Walter thinks the relationships between Mr. Lang and myself are romantic or anything but strictly business, he is wrong," she declared. She blamed the trouble on financial setbacks involving film productions Wanger was involved with, and said he was on the verge of a nervous breakdown.

On December 14, Bennett issued a statement in which she said she hoped her husband "will not be blamed too much" for wounding her agent. She read the prepared statement in the bedroom of her home to a group of newspapermen while TV cameras recorded the scene.

Wanger's attorney, Jerry Giesler, mounted a "temporary insanity" defense. He then decided to waive his rights to a jury and threw himself on the mercy of the court. Wanger served a four-month sentence in the County Honor Farm at Castaic, 39 miles north of Downtown Los Angeles, quickly returning to his career to make a series of successful films.

Meanwhile, Bennett went to Chicago to appear on the stage in the role as the young witch Gillian Holroyd in Bell, Book and Candle, then went on national tour with the production.

Bennett made only five movies in the decade that followed, as the shooting incident was a stain on her career and she became virtually blacklisted. Blaming the scandal that occurred for destroying her career in the motion picture industry, she once said, "I might as well have pulled the trigger myself." Although Humphrey Bogart, a longtime friend of Bennett's, pleaded with the studio on her behalf to keep her role as Amelie Ducotel in We're No Angels (1955), that movie proved to be one of her last.

As the movie offers dwindled after the scandal, Bennett continued touring in stage successes, such as Susan and God, Once More With Feeling, The Pleasure of His Company and Never Too Late. Her next TV appearance was in the role as Bettina Blane for an episode of General Electric Theater in 1954. Other roles include Honora in Climax! (1955) and Vickie Maxwell in Playhouse 90 (1957). In 1958, she appeared as the mother in the short-lived television comedy/drama Too Young to Go Steady to teenagers played by Brigid Bazlen and Martin Huston.

She starred on Broadway in the comedy Love Me Little (1958), which ran for only eight performances.

Later years

]] Despite the shooting scandal and the damage it caused Bennett's career, she and Wanger remained married until 1965. She continued to work steadily on the stage and in television, including her guest role as Denise Mitchell in an episode of TV's Burke's Law ().

Bennett was a cast regular on the gothic daytime television soap opera Dark Shadows, which attracted a major cult TV following, for its entire five year run, 1966 to 1971, receiving an Emmy Award nomination in 1968 for her performance as Elizabeth Collins Stoddard, mistress of the haunted Collinwood Mansion. In 1970, she appeared as Elizabeth in House of Dark Shadows, the feature film adaptation of the series. She declined to appear in the sequel Night of Dark Shadows however, and her character Elizabeth was mentioned as being recently deceased.

Her autobiography, The Bennett Playbill, written with Lois Kibbee, was published in 1970.

Other TV guest appearances include Bennett's roles as Joan Darlene Delaney in an episode of The Governor & J.J. (1970) and as Edith in an episode of Love, American Style (1971). She starred in five made-for-TV movies between 1972 and 1982.

Bennett also appeared in one more feature film, as Madame Blanc in Italian director Dario Argento's horror thriller Suspiria (1977), for which she received a 1978 Saturn Award nomination for Best Supporting Actress.

On February 14, 1978, she and retired publisher/movie critic David Wilde were married in White Plains, New York. Their marriage lasted until her death.

Celebrated for not taking herself too seriously, Bennett said in a 1986 interview, "I don't think much of most of the films I made, but being a movie star was something I liked very much." at 6300 Hollywood Blvd.]]

Death

Bennett died at age 80 from a heart attack at her home in Scarsdale, New York. She is interred in Pleasant View Cemetery, Lyme, Connecticut, with her parents.

She has a star on the Hollywood Walk of Fame for her work in Motion Pictures, at 6310 Hollywood Boulevard, Hollywood.

Filmography

Bennett appeared in a large number of motion pictures, as well as network television productions, series work and made-for-TV movies, which are listed here in their entirety.

{| class="wikitable sortable" |+Film |- ! Year ! Title ! Role ! class="unsortable" | Notes |- | 1916 | | unborn soul | |- | 1923 | | Page | uncredited |- | 1928 | Power | a dame | |- | 1929 | | extra | uncredited |- | 1929 | Bulldog Drummond | Phyllis Benton | |- | 1929 | Three Live Ghosts | Rose Gordon | |- | 1929 | Disraeli | Lady Clarissa Pevensey | |- | 1929 | | Lucy Blackburn | |- | 1930 | Puttin' on the Ritz | Delores Fenton | |- | 1930 | Crazy That Way | Ann Jordan | |- | 1930 | Moby Dick | Faith Mapple, his beloved | |- | 1930 | Maybe It's Love | Nan Sheffield | |- | 1930 | Scotland Yard | Xandra, Lady Lasher | |- | 1931 | Many a Slip | Pat Coster | |- | 1931 | Doctors' Wives | Nina Wyndram | |- | 1931 | Hush Money | Joan Gordon | |- | 1932 | She Wanted a Millionaire | Jane Miller | |- | 1932 | Careless Lady | Sally Brown | |- | 1932 | | Vivienne Ware | |- | 1932 | Week Ends Only | Venetia Carr | |- | 1932 | Wild Girl | Salomy Jane | |- | 1932 | Me and My Gal | Helen Riley | |- | 1933 | Arizona to Broadway | Lynn Martin | |- | 1933 | Little Women | Amy | |- | 1934 | | Prudence Kirkland | |- | 1934 | | Adele Verin | |- | 1935 | Private Worlds | Sally MacGregor | |- | 1935 | Mississippi | Lucy Rumford | |- | 1935 | Two for Tonight | Bobbie Lockwood | |- | 1935 | She Couldn't Take It | Carol Van Dyke | |- | 1935 | | Helen Berkeley | |- | 1936 | Big Brown Eyes | Eve Fallon | |- | 1936 | Thirteen Hours by Air | Felice Rollins | |- | 1936 | Two in a Crowd | Julia Wayne | |- | 1936 | Wedding Present | Monica "Rusty" Fleming | |- | 1937 | Vogues of 1938 | Wendy Van Klettering | |- | 1938 |I Met My Love Again |Julie | |- | 1938 | | Ivy Preston | |- | 1938 | Artists and Models Abroads | Patricia Harper | |- | 1938 | Trade Winds | Kay Kerrigan | |- | 1939 | | Princess Maria Theresa | |- | 1939 | | Hilda | |- | 1940 | Green Hell | Stephanie Richardson | |- | 1940 | | Brenda Bentley | |- | 1940 | | Carol Hoffman | |- | 1940 | | Grand Duchess Zona of Lichtenburg | |- | 1941 | She Knew All the Answers | Gloria Winters | |- | 1941 | Man Hunt | Jerry Stokes | |- | 1941 | Wild Geese Calling | Sally Murdock | |- | 1941 | Confirm or Deny | Jennifer Carson | |- | 1942 | |Anita Woverman | |- | 1942 | Twin Beds | Julie Abbott | |- | 1942 | Girl Trouble | June Delaney | |- | 1943 | Margin for Error | Sophia Baumer | |- | 1944 | | Alice Reed | |- | 1945 | Nob Hill | Harriet Carruthers | |- | 1945 | Scarlet Street | Katharine "Kitty" March | |- | 1946 | Colonel Effingham's Raid | Ella Sue Dozier | |- | 1947 | | Margaret Macomber | |- | 1947 | |Peggy | |- | 1948 | Secret Beyond the Door... | Celia Lamphere | |- | 1948 | Hollow Triumph | Evelyn Hahn | |- | 1949 | | Lucia Harper | |- | 1950 | Father of the Bride | Ellie Banks | |- | 1950 | For Heaven's Sake | Lydia Bolton | |- | 1951 | Father's Little Dividend | Ellie Banks | |- | 1951 | | Kathy Joplin | |- | 1954 | Highway Dragnet | Mrs. Cummings | |- | 1955 | We're No Angels | Amelie Ducotel | |- | 1956 | There's Always Tomorrow | Marion Groves | |- | 1956 | Navy Wife | Peg Blain | |- | 1960 | Desire in the Dust | Mrs. Marquand | |- | 1970 | House of Dark Shadows | Elizabeth Collins Stoddard | |- | 1977 | Suspiria | Madame Blanc | |-

Television programs

#Nash Airflyte Theatre (1951) episode: Peggy #Your Show of Shows (1951) 1 episode #Danger (1951) episode: A Clear Case of Suicide #Somerset Maugham TV Theatre (1951) episode: Smith Serves #Somerset Maugham TV Theatre (1951) episode: The Dream #General Electric Theater (1954) episode: You Are Young Only Once ... Bettina Blane #The Best of Broadway (1954) episode: The Man Who Came to Dinner ... Lorraine Sheldon #Climax! (1955) episode: The Dark Fleece ... Honora #The Ford Television Theatre (1955) episode: Letters Marked Personal ... Marcia Manners #The Ford Television Theatre (1956) episode: Dear Diane ... Marion #Playhouse 90 (1957) episode: The Thundering Wave ... Vickie Maxwell #The DuPont Show of the Month (1957) episode: Junior Miss ... Grace Graves #Pursuit (1958) episode: Epitaph for a Golden Girl #Too Young to Go Steady (1959) (own series) ... Mary Blake #Mr. Broadway (1964) episode: Don't Mention My Name in Sheboygan ... Mrs. Kelsey #Burke's Law (1965) episode: Who Killed Mr. Colby in Ladies' Lingerie? ... Denise Mitchell #Dark Shadows (1966–1971) (series regular, 386 episodes) ... Elizabeth Collins Stoddard #The Governor & J.J. (1970) episode: Check the Check ... Joan Darlene Delaney #Love, American Style (1971) episode segment: Love and the Second Time ... Edith #Dr. Simon Locke (1972) episode: The Cortessa Rose ... Cortessa

Made-for-TV movies

#Gidget Gets Married (1972) ... Claire Ramsey #The Eyes of Charles Sand (1972) ... Aunt Alexandra #Suddenly, Love (1978) ... Mrs. Graham #This House Possessed (1981) ... Rag Lady # (1982) ... Adele Burgess

As herself

Screen Actors (1950) (uncredited)

The Colgate Comedy Hour (1951]) 1 episode

What's My Line? (1951) 1 episode

The Ken Murray Show (1951) 1 episode

Ford Festival (1951)

Climax! (1956) episode: The Louella Parsons Story

To Tell the Truth (1958) 1 episode

The Mike Douglas Show (1964, 1967, 1970, 1970, 1977) 5 episodes

The Merv Griffin Show (1967) 1 episode

Personality (1968) 1 episode

The Hollywood Squares (1970) 1 episode

The Virginia Graham Show (1970) 1 episode

The Hollywood Greats (1977) 2 episodes: Humphrey Bogart; Spencer Tracy

The Guiding Light (1982) 1 episode

(1986)

Short subject

Screen Snapshots (1932)

Hollywood on Parade No. A-12 (1933)

The Fashion Side of Hollywood (1935)

Hollywood Party (1937)

Screen Snapshots Series 19, No. 9: Sports in Hollywood (1940)

Hedda Hopper's Hollywood, No. 6 (1942)

Screen Actors (1950) (uncredited)

Listen to

A collection of old time radio recordings featuring Joan Bennett

References

Notes

Further reading

How to Be Attractive, by Joan Bennett, 1943, New York, Alfred A. Knopf, 131 pp.

The Bennett Playbill, by Joan Bennett and Lois Kibbee, 1970, New York, Holt, Rinehart and Winston, 332 pp.

The Bennetts: An Acting Family, by Brian Kellow, 2004, Lexington, University Press of Kentucky, 530 pp.

External links

Joan Bennett Photo Gallery

Category:1910 births Category:1990 deaths Category:American film actors Category:American silent film actors Category:American stage actors Category:American television actors Category:American radio personalities Category:American memoirists Category:Actors from New Jersey Category:Deaths from myocardial infarction Category:People from Bergen County, New Jersey Category:People from Scarsdale, New York Category:20th-century actors

Name	Jane Russell
Caption	in Gentlemen Prefer Blondes (1953)
Birth name	Ernestine Jane Geraldine Russell
Birth date	June 21, 1921
Birth place	Bemidji, Minnesota, U.S.
Occupation	Actress, model
Years active	1943–1986
Spouse	Bob Waterfield(m. 1943–1967)Roger Barrett(m. 1968-1968)John Calvin Peoples(m. 1974–1999)

Jane Russell (born June 21, 1921) is an American film actress and was one of Hollywood's leading sex symbols in the 1940s and 1950s.

Early life

Born Ernestine Jane Geraldine Russell in Bemidji, Minnesota, she was eldest child and only daughter of the five children of Roy William Russell (January 5, 1890 – July 18, 1937) and Geraldine Jacobi (January 2, 1891 – December 26, 1986).

Her parents were both born in North Dakota. Three of her grandparents were born in Canada, while her paternal grandmother was born in Germany. Her parents married in 1917. Her father was a First Lieutenant in the U.S. Army and her mother was a former actress with a road troupe. Her parents spent the early years of their marriage in Edmonton, Alberta, Canada. For her birth her mother temporarily moved back to the U.S. to ensure she was born a U.S. citizen. Later the family moved to the San Fernando Valley of Southern California. They lived in Burbank in 1930 and her father worked as an office manager at a soap manufacturing plant.

Russell's mother arranged for her to take piano lessons. In addition to music, she was interested in drama and participated in stage productions at Van Nuys High School. Her early ambition was to be a designer of some kind, until the death of her father at forty-six, when she decided to work as a receptionist after graduation. She also modeled for photographers and, at the urging of her mother, studied drama and acting with Max Reinhardt's Theatrical Workshop and with famed Russian actress Maria Ouspenskaya. in 1944.]]

Career

In 1940, Russell was signed to a seven-year contract by film mogul Howard Hughes and made her motion picture debut in The Outlaw (1943), a story about Billy the Kid that went to great lengths to showcase her voluptuous figure. Although the movie was completed in 1941, it was released for a limited showing two years later. There were problems with the censorship of the production code over the way her ample cleavage was displayed. When the movie was finally passed, it had a general release in 1946. During that time, she was kept busy doing publicity and became known nationally. Contrary to countless incorrect reports in the media since the release of The Outlaw, Russell did not wear the specially designed underwire bra (the first of its kind) that Howard Hughes constructed for the film. According to Jane's 1988 autobiography, she was given the bra, decided it had a mediocre fit, and wore her own bra on the film set with the straps pulled down.

Together with Lana Turner and Rita Hayworth, Russell personified the sensuously contoured sweater girl look, though her measurements of 38D-24-36 and height of 5' 7" were more statuesque than her contemporaries. Besides the thousands of quips from radio comedians, including Bob Hope, who once introducing her as "the two and only Jane Russell" and "Culture is the ability to describe Jane Russell without moving your hands", the photo of her on a haystack was a popular pin-up with servicemen during World War II. She was not in another movie until 1946, when she played Joan Kenwood in Young Widow for RKO.

In 1947, Russell attempted to launch a musical career. She sang with the Kay Kyser Orchestra on radio and recorded two singles with his band, "As Long As I Live" and "Boin-n-n-ng!" She also cut a 78 rpm album that year for Columbia Records, Let's Put Out the Lights, which included eight torch ballads and cover art that included a diaphanous gown that for once put the focus more on her legs than on her breasts. In a 2009 interview for the liner notes to another CD, Fine and Dandy, Russell denounced the Columbia album as "horrible and boring to listen to." It was reissued on CD in 2002, in a package that also included the Kyser singles and two songs she recorded for Columbia in 1949 that went unreleased at the time. In 1950, she recorded a single, "Kisses and Tears," with Frank Sinatra and The Modernaires for Columbia.

Meanwhile she performed in an assortment of movie roles, which included Calamity Jane, opposite Bob Hope in The Paleface (1948) on loan out to Paramount, and Mike "the Torch" Delroy opposite Hope in another western comedy, Son of Paleface (1952), again at Paramount. (1953).]] Russell was Dorothy Shaw in Gentlemen Prefer Blondes (1953) opposite Marilyn Monroe for 20th Century Fox, which was well received and showed her as a talented actress.

She appeared in two movies opposite Robert Mitchum, His Kind of Woman (1951) and Macao (1952). Other co-stars include Frank Sinatra and Groucho Marx in the comedy Double Dynamite (1951); Victor Mature, Vincent Price and Hoagy Carmichael in The Las Vegas Story (1952); Jeff Chandler in Foxfire (1955); and Clark Gable and Robert Ryan in The Tall Men (1955).

In Howard Hughes' RKO production The French Line (1954), the movie's penultimate moment showed Russell in a form-fitting one-piece bathing suit with strategic cut outs, performing a then-provocative musical number titled "Lookin' for Trouble". In her autobiography, Russell said that the revealing outfit was an alternative to Hughes' original suggestion of a bikini, a very racy choice for a movie costume in 1954. Russell said that she initially wore the bikini in front of her "horrified" movie crew while "feeling very naked."

Russell and her first husband, former Los Angeles Rams quarterback Bob Waterfield, formed Russ-Field Productions in 1955. They produced Gentlemen Marry Brunettes (1955), The King and Four Queens (1956) starring Clark Gable and Eleanor Parker, Run for the Sun (1956) and The Fuzzy Pink Nightgown (1957). and Jane Russell putting signatures, hand and foot prints in cement at Grauman's Chinese Theater, 1953]]

She starred in Gentlemen Marry Brunettes, opposite Jeanne Crain, and in the drama The Revolt of Mamie Stover (1956). After making The Fuzzy Pink Nightgown (1957), which failed at the box-office, she did not appear on the silver screen again for seven years.

On the musical front, Russell formed a gospel group with Connie Haines, former vocalist in the Harry James and Tommy Dorsey orchestras, and Beryl Davis, a British emigrant who had moved to the U.S. after success entertaining American troops stationed in England during World War II. With Della Russell as a fourth voice and backed by an orchestra conducted by Lyn Murray, their Coral single "Do Lord" reached number 27 on the Billboard singles chart in May 1954. Russell, Haines and Davis followed up with an LP for Capitol Records, The Magic of Believing. According to the liner notes on this album, the group started when the women met at a church social. Later, another Hollywood bombshell, Rhonda Fleming, joined them for more gospel recordings. A collection of some of Russell's gospel and secular recordings was issued on CD in England in 2005, and the Capitol LP was issued on CD in 2008, in a package that also included more secular recordings, including Russell's spoken word performances of Hollywood Riding Hood and Hollywood Cinderella backed by a jazz group that featured Terry Gibbs and Tony Scott.

In October 1957, she debuted in a successful solo nightclub act at the Sands Hotel in Las Vegas. She also fulfilled later engagements in the U.S., Canada, Mexico, South America and Europe. A self-titled solo LP was issued on MGM Records in 1959. It was reissued on CD in 2009 under the title Fine and Dandy, and the CD included some demo and soundtrack recordings as well. "I finally got to make a record the way I wanted to make it," she said of the MGM album in the liner notes to the CD reissue.

In the summer of 1961, she debuted with a tour of Janus in New England. In the fall of 1961, she performed in Skylark at the Drury Lane Theatre, Chicago. In November 1962, she performed in Bells Are Ringing at the Westchester Town House in Yonkers, New York.

Her next movie appearance came in Fate Is the Hunter (1964), in which she was seen as herself performing for the USO in a flashback sequence. She made only four more movies after that, playing character parts in the final two.

In 1971, she starred in the musical drama Company on Broadway, replacing Elaine Stritch. Russell performed the role of Joanne in the play for six months. Also in the 1970s, she started appearing in television commercials as a spokeswoman for Playtex "cross your heart bras for us full-figured gals", featuring the "18-hour bra".

She wrote an autobiography in 1985, Jane Russell: My Path and My Detours. In 1989, she received the Women's International Center (WIC) Living Legacy Award.

Jane Russell's hand and foot prints are immortalized in the forecourt of Grauman's Chinese Theater and she has a star on the Hollywood Walk of Fame at 6850 Hollywood Boulevard.

Jane Russell was voted one of the 40 Most Iconic Movie Goddesses of all time in 2009 by Glamour (UK edition).

Fictional portrayals

Russell was portrayed by Renee Henderson in the 2001 CBS mini-series Blonde, based on the novel by Joyce Carol Oates and portrayed leaving her imprints at Grauman's along with Marilyn Monroe in the HBO film Norma Jean & Marilyn starring Ashley Judd and Mira Sorvino.

Personal life

Russell had three husbands: Bob Waterfield, a UCLA All American, Cleveland Rams & Los Angeles Rams Quarterback, the Los Angeles Rams Head Coach, and Pro Football Hall of Fame member, (married on April 24, 1943, then divorced in July 1968); the actor Roger Barrett, (married on August 25, 1968 through his death on November 18, 1968); and the real-estate broker John Calvin Peoples (married January 31, 1974 through his death on April 9, 1999). Russell and Peoples lived in Sedona, Arizona for a few years, but spent the majority of their married life residing in Montecito, California.

In February 1952, she and Waterfield adopted a baby girl, Tracy. In December 1952, they adopted a fifteen-month-old boy, Thomas, and in 1956 she and Waterfield adopted a nine-month-old boy, Robert John. Russell herself was unable to have children and, in 1955, she founded World Adoption International Fund (WAIF), an organization to place children with adoptive families that pioneered adoptions from foreign countries by Americans.

At the height of her career, Russell started the "Hollywood Christian Group," a weekly Bible study at her home which was arranged for Christians in the film industry. Russell appeared occasionally on the Praise The Lord program on the Trinity Broadcasting Network, a Christian television channel based in Costa Mesa, California.

Russell was at times a prominent Republican Party member who attended Dwight Eisenhower's inauguration along with the notables from Hollywood, Lou Costello, Dick Powell, June Allyson, Anita Louise, and Louella Parsons.

For the past several years, Russell has resided in the Santa Maria Valley along the Central Coast of California.

Filmography

;Features

The Outlaw (1943)

Young Widow (1946)

The Paleface (1948)

His Kind of Woman (1951)

Double Dynamite (1951)

The Las Vegas Story (1952)

Macao (1952)

Son of Paleface (1952)

Montana Belle (1952)

Road to Bali (1952) (Cameo)

Gentlemen Prefer Blondes (1953)

The French Line (1954)

Underwater! (1955)

Foxfire (1955)

The Tall Men (1955)

Gentlemen Marry Brunettes (1955)

Hot Blood (1956)

The Revolt of Mamie Stover (1956)

The Fuzzy Pink Nightgown (1957)

Fate Is the Hunter (1964)

Johnny Reno (1966)

Waco (1966)

The Born Losers (1967)

Darker Than Amber (1970)

Hollywood on Fire (2007) (documentary)

;Short Subjects

(1949)

(1950)

(1956)

Film taglines

Taglines used for advertising on posters or in the media for Russell's films often made reference to her well endowed bust.

"How'd you like to tussle with Russell?" – The Outlaw – 1943

"Jane Russell and Frank Sinatra...What a pair!" – Double Dynamite – 1951

"They were two of a kind!" – His Kind of Woman – 1951

"Warm Lips...Hot Lead!" – Montana Belle – 1952

"The Two M-M-Marvels Of Our Age In The Wonder Musical Of The World!" – Gentlemen Prefer Blondes – 1953

"J.R. in 3-D. It'll Knock both your eyes out!" – The French Line – 1954

"Skin Diver Action...Aqua-lung Thrills!" – Underwater! – 1955

"They Don't come ANY BIGGER" – The Tall Men – 1955

"SEE 'EM SIZZLE IN THE BIG, BUXOM, BEAUTIFUL MUSICAL!" – Gentlemen Marry Brunettes – 1955

"Jane Russell shakes her tambourines and drives Cornel Wilde!" – Hot Blood – 1956

"The hottest bundle ever hijacked!" The Fuzzy Pink Nightgown – 1957

References

Notes

Bibliography

External links

Thomas, Bob. Jane Russell was ideal of World War II beauty, Associated Press, February 17, 2000

Jane Russell Biography, Biography Channel UK

Jane Russell In The Outlaw (1946)

Jane Russell

Moira J. Maguire. Foreign adoptions and the evolution of Irish adoption policy, 1945–52, Journal of Social History, Winter 2002

Ryon, Ruth. Her Kind of House, Los Angeles Times, October 10, 1999

Jane Russell: image and illusion, CBC Digital Archives, (Audio)m March 15, 1966

Lynch, Donal. Whatever happened to Jane's baby?, Independent.i.e., June 14, 2009.

Bacon, James. Actress Devotes Full Time to Orphans, Associated Press, Reading Eagle, January 10, 1960

Board of Advisors, Vanguard.org

Chattaway, Peter T. Sex Symbol and Christ Follower, Christianity Today, March 3, 2009.

Leigh, Wendy. Jane Russell: My friend Marilyn did not kill herself, Daily Mail, March 3, 2007

Sheridan, Peter. The Superstar Singing for Her Supper, The Express UK, March 30, 2006

Farrow, Ross. Hollywood legend Jane Russell to speak at women's conference, Lodi News-Sentinel, June 25, 2004.

Wood, Bret.Profile, Jane Russell, Turner Classic Movies, TCM.com. Retrieved March 27, 2010.

Jane Russell, A Dedicated Champion for Children, Women's International Center, WIC.com, Retrieved March 27, 2010.

Jane Russell (1921–), Virtual Film History, Retrieved March 27, 2010.

Category:1921 births Category:Living people Category:People from Bemidji, Minnesota Category:20th-century actors Category:Actors from Minnesota Category:American Christians Category:Breast fetishism Category:American female models Category:American film actors Category:American musical theatre actors Category:American stage actors Category:Arizona Republicans Category:People from Sedona, Arizona Category:People from Santa Maria, California

Caption	Palance during the filming of The Godchild (1974)
Birth date	February 18, 1919
Birth place	Hazle Township, Pennsylvania, United States
Death date	November 10, 2006
Death place	Montecito, California,United States
Occupation	Actor
Years active	1947–2004
Birth name	Volodymyr Palahniuk
Other names	Jack BrazzoWalter PalanceWalter J. PalanceWalter Jack Palance
Spouse	Virginia Baker (1949–1968) (divorced) 3 childrenElaine Rogers (1987–2006) (his death)

Volodymyr Palahniuk (; February 18, 1919 – November 10, 2006), known professionally as Jack Palance, was a Ukrainian American film actor. During half a century of film and television appearances he was nominated for three Academy Awards, all as Best Actor in a Supporting Role, winning in 1991 for his role in City Slickers.

Early life

Palance, one of five children, was born Volodymyr Palahniuk in the Lattimer Mines section of Hazle Township, Pennsylvania, the son of Anna ( Gramiak) and Ivan Palahniuk, who was an anthracite coal miner. Palance's parents were Ukrainian immigrants, his father a native of Ivane Zolote in Southwestern Ukraine and his mother from the Lviv region. He worked in coal mines during his youth before becoming a boxer.

In the late 1930s, Palance started a professional boxing career. Fighting under the name Jack Brazzo, Palance reportedly compiled a record of 15 consecutive victories with 12 knockouts before fighting the future heavyweight contender Joe Baksi in a "Pier-6" brawl. Palance lost a close decision, and recounted: "Then, I thought, you must be nuts to get your head beat in for $200".

With the outbreak of the Second World War, Palance's boxing career ended and his military career began as a member of the United States Army Air Forces. Palance's rugged face, which took many beatings in the boxing ring, was disfigured when he bailed out of a burning B-24 Liberator bomber while on a training flight over southern Arizona, where he was a student pilot. Plastic surgeons repaired the damage as best they could, but he was left with a distinctive, somewhat gaunt, look. After much reconstructive surgery, he was discharged in 1944.

Palance graduated from Stanford University in 1947 with a Bachelor of Arts degree in Drama. During his university years, to make ends meet he also worked as a short order cook, waiter, soda jerk, lifeguard at Jones Beach State Park, and photographer's model.

Career

Palance's acting break came as Marlon Brando's understudy in A Streetcar Named Desire, and he eventually replaced Brando on stage as Stanley Kowalski.

In 1947, Palance made his Broadway debut, and this was followed three years later by his screen debut in the movie Panic in the Streets (1950). The very same year, he was featured in Halls of Montezuma about the U.S. Marines in World War II, where he was credited as "Walter (Jack) Palance". Palance was quickly recognized for his skill as a character actor, receiving an Oscar nomination for only his third film role, as Lester Blaine in Sudden Fear.

The following year, Palance was again nominated for an Oscar, this time for his role as the hired gunfighter Jack Wilson in Shane. Several other Western roles followed, but he also played such varied roles as Dr. Jekyll and Mr. Hyde, Dracula and Attila the Hun.

In 1957, Palance won an Emmy for best actor for his portrayal of Mountain McClintock in the Playhouse 90 production of Rod Serling's Requiem for a Heavyweight.

Jean-Luc Godard persuaded Palance to take on the role of Hollywood producer Jeremy Prokosch in the 1963 nouvelle vague movie Le Mépris, with Brigitte Bardot and Michel Piccoli. Although the main dialogue was in French, Palance spoke mostly English.

While still busy making movies, in the 1960s Palance also released an album of country-Western music for Warner Bros. Records. This happened in 1969 and it recalled the Lee Hazlewood music that was popular at the time. Recorded in Nashville with the usual studio cats, the album is a playful country rock romp not unlike other late 60's Nashville recordings and featured Palance's self penned classic song "The Meanest Guy That Ever Lived". The album was re-released in 2003 by the "Walter" label in CD version.

He starred the 24 episodes series Bronk between 1975 and 1976 for MGM Television.

He also hosted (with his daughter Holly Palance) the television series Ripley's Believe It or Not!.

Appearances in Young Guns (1988) and Tim Burton's Batman (1989) reinvigorated Palance's career, and demand for his services kept him involved in new projects each year right up to the turn of the century.

Palance, at the time chairman of the Hollywood Trident Foundation, walked out of a Russian Film Festival in Hollywood. After being introduced, Palance said, "I feel like I walked into the wrong room by mistake. I think that Russian film is interesting, but I have nothing to do with Russia or Russian film. My parents were born in Ukraine: I'm Ukrainian. I'm not Russian. So, excuse me, but I don't belong here. It's best if we leave."

In 2001, Palance returned to the recording studio as a special guest on friend Laurie Z's Heart of the Holidays album to narrate the famous classic poem The Night Before Christmas.

In 2002, he starred in the television movie Living with the Dead opposite Ted Danson, Mary Steenburgen and Diane Ladd. In 2004, he starred in another television production, Back When We Were Grownups, opposite Blythe Danner, his performance as Poppy being Palance's last.

According to writer Mark Evanier, comic book creator Jack Kirby modeled his character Darkseid on the actor.

Academy Award

Four decades after his film debut, Palance won an Academy Award for Best Supporting Actor on March 30, 1992, for his performance as cowboy Curly Washburn in the 1991 comedy City Slickers. Stepping onstage to accept the award, the intimidatingly fit 6' 4" (1.93 m) actor looked down at 5' 7" (1.70 m) Oscar host Billy Crystal (who was also his co-star in the movie), and joked — mimicking one of his lines from the film — "Billy Crystal... I crap bigger than him." He then dropped to the floor and demonstrated his ability, at age 73, to perform one-handed push-ups.

Crystal turned this into a running gag. At various points in the broadcast, he announced that Palance was backstage on the Stairmaster; had "just bungee-jumped off the Hollywood sign"; had rendezvoused with the Space Shuttle in orbit; had fathered all the children in a production number; had been named People magazine's Sexiest Man Alive; and had won the New York primary election. At the end of the broadcast, Crystal told everyone he'd like to see them again "but I've just been informed Jack Palance will be hosting next year." (The following year, host Crystal arrived on stage atop a giant model of the Oscar statuette, being towed by Palance using his teeth.)

Personal life

in 2005]] Palance was married to his first wife, Virginia Baker, from 1949 to 1968. They had three children: Holly (born in 1950), an actress, Brooke (born in 1952) and Cody (1955–1998).

Daughter Brooke married Michael Wilding, son of Michael Wilding Sr. (1912–1979) and Elizabeth Taylor; they have three children as well.

An actor himself, Cody Palance appeared alongside his father in the film Young Guns, and was just 42 when he died from malignant melanoma on July 16, 1998. Jack Palance had hosted The Cody Palance Memorial Golf Classic to raise awareness and funds for a cancer center in Los Angeles. Besides being an actor, Cody Palance was a musician who performed live with his band.

In May 1987 Palance married Elaine Rogers. On New Year's Day 2003, his first wife Virginia Baker (July 7, 1922 - January 1, 2003) was struck by a car and killed in Los Angeles.

Palance painted and sold landscape art, with a poem included on the back of each picture. He is also the author of The Forest of Love, a book of poems, published in 1996 by Summerhouse Press.

True to his roots, Palance acknowledged a life-long attachment to his Pennsylvania heritage and visited there when able. Shortly before his death, he had placed his Butler Township, Pennsylvania, Holly-Brooke farm up for sale and his personal art collection up for auction.

Death and legacy

On November 10, 2006, Palance died at the age of 87, of natural causes, at his daughter's home in Montecito in Santa Barbara County. His remains were cremated, his ashes retained by family and friends. Jack Palance lived for a number of years around Tehachapi, near Bakersfield, in southern California.

Palance has a star on the Hollywood Walk of Fame at 6608 Hollywood Boulevard. In 1992, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

Filmography

Films

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Film ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- |rowspan="2"| 1950 | Panic in the Streets | Blackie | |- | Halls of Montezuma | Pigeon Lane | |- | 1952 | Sudden Fear | Lester Blaine |Nominated — Academy Award for Best Supporting Actor |- |rowspan="4"| 1953 | Shane | Jack Wilson |Nominated — Academy Award for Best Supporting Actor |- | Man in the Attic | Slade | |- | ''Second Chance | Cappy Gordon | |- | ''Arrowhead | Torinada | |- |rowspan="2"|1954 | The Silver Chalice | Simon Magus |- | Sign of the Pagan | Attila the Hun |- |rowspan="2"| 1955 | The Big Knife | Charles Castle | |- | I Died a Thousand Times |Roy Earle aka Roy Collins | |- |rowspan="2"| 1956 | Attack | Lieutenant Costa | |- | Playhouse 90: Requiem for a Heavyweight | Harlan 'Mountain' McClintock |(TV) |- | 1957 | House of Numbers | | |- | 1959 | Flor De Mayo |- | 1959 | Ten Seconds to Hell | Erik Koertner | |- |rowspan="2"| 1960 | Austerlitz | General Weirother | |- | The Barbarians | Revak | |- | 1961 | Barabbas | Torvald | |- | 1963 | Contempt | Jeremy Prokosch | |- | 1965 | Once a Thief | Walter Pedack | |- | 1966 | The Professionals | Jesus Raza | |- | 1968 | The Mercenary | Curly | |- |rowspan="3"| 1969 | | Antonin | |- | Legion of the Damned | Colonel Charley MacPherson | |- | Che! | Fidel Castro | |- |rowspan="2"| 1970 | Compañeros | John | |- | Monte Walsh | Chet | |- |rowspan="2"| 1972 | Chato's Land | Captain Quincy | |- | Si può fare... amigo | Sonny Bronston | |- | 1973 | Father Jackleg (Originally Tedeum) | Buck Santini | |- | 1974 | Craze | Neil Mottram | |- | 1976 | God's Gun | Ben Haenni | |- | 1977 | Portrait of a Hitman | Jim Buck | |- | 1979 | Angels' Brigade | Mike Farrell | |- | 1980 | Hawk the Slayer | Voltan | |- | 1987 | Bagdad Café | Rudi Cox | |- |rowspan="2"| 1988 | Gor | Xenos | |- | Young Guns | Lawrence G. Murphy | |- |rowspan="3"| 1989 | Batman | Carl Grissom | |- | Outlaw of Gor | Xenos | |- | Tango & Cash | Yves Perret | |- | 1990 | Solar Crisis | Travis | |- | 1991 | City Slickers | Curly Washburn |Academy Award for Best Supporting Actor American Comedy Award for Funniest Supporting Actor in a Motion PictureGolden Globe Award for Best Supporting Actor - Motion Picture |- | 1993 | Cyborg 2 | Mercy | |- |rowspan="3"| 1994 | | Duke Washburn | |- | The Swan Princess |Lord Rothbart | Voice |- | Cops and Robbersons | Jake Stone | |- | 1997 | Ebenezer | Ebenezer Scrooge | |- | 1999 | Treasure Island | Long John Silver | |- | 2002 | Talking To Heaven | | 1971 in film Horsemen Tursen |}

Television movies/mini-series

{| border="2" cellpadding="4" cellspacing="0" style="margin: 1em 1em 1em 0; background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 90%;" |- bgcolor="#B0C4DE" align="center" ! Year ! Title ! Role |- | 1968 | Dr. Jekyll and Mr. Hyde | Henry Jekyll and Edward Hyde |- | 1973 | Dracula | Count Dracula |- | 1974 | The Godchild | Rourke |- | 1975 | The Hatfields and the McCoys | Devil Anse Hatfield |- | 1979 | The Last Ride of the Dalton Gang | Will Smith |- |rowspan=2|1980 | The Ivory Ape | Marc Kazarian |- | The Golden Moment: An Olympic Love Story | Whitey Robinson |- | 1981 | Evil Stalks This House | Stokes |- | 1992 | Keep the Change | Overstreet |- | 1994 | The Twilight Zone: Rod Serling's Lost Classics | Dr. Jeremy Wheaton (segment "Where the Dead Are") |- | 1995 | Buffalo Girls | Bartle Bone |- |rowspan=2| 1997 | I'll Be Home for Christmas | Bob |- | Ebenezer | Ebenezer Scrooge |- | 1999 | | John Witting |- | 2001 | Living With the Dead | Allan Van Praagh |- | 2004 | Back When We Were Grownups | Paul 'Poppy' Davitch |}

Television shows

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Title ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- | 1950 | Lights Out | | Episode "The Man Who Couldn't Remember" |- | rowspan="4"|1952 | Westinghouse Studio One | | Episode "The King in Yellow" |- | Curtain Call | | Episode "Azaya" |- | Westinghouse Studio One | | Episode "Little Man, Big World" |- | The Gulf Playhouse | | Episode "Necktie Party" |- | rowspan="5"| 1953 | Danger | | Episode "Said the Spider to the Fly" |- | The Web | | Episode "The Last Chance" |- | Suspense | Tom Walker | Episode "The Kiss-Off" |- | The Motorola TV Hour | Scott Malone/Kurt Bauman | Episode "Brandenburg Gate" |- | Suspense | | Episode "Cagliostro and the Chess Player" |- | rowspan="2"| 1956 | Playhouse 90 | Harlan "Mountain" McClintock | "Requiem for a Heavyweight"Emmy Award for Best Single Performance by an Actor |- | Zane Grey Theatre | Dan Morgan | Episode "The Lariat" |- | rowspan="2"| 1957 | Playhouse 90 | Monroe Stahr | "The Last Tycoon" |- | Playhouse 90 | Manolete | "The Death of Manolete" |- | 1963 | The Greatest Show on Earth | Circus manager Johnny Slate | Series - top billing |- | 1965 | Convoy | Harvey Bell | Episode "The Many Colors of Courage" |- | rowspan=3| 1966 | Run for Your Life | Julian Hays | Episode "I Am the Late Diana Hays" |- | Alice Through the Looking Glass | Jabberwock | (Live Theatre) |- | The Man from U.N.C.L.E. | Louis Strago | 2 episodes "The Concrete Overcoat Affair: Parts I and II" |- |1968 | They Came to Rob Las Vegas | | |- | 1971 | Net Playhouse | President Jackson | "Trail of Tears" |- | 1973 | The Sonny & Cher Comedy Hour | Himself | |- | 1975 | Bronk | Det. Lt. Alex 'Bronk' Bronkov | Series |- | rowspan="2"| 1979 | Buck Rogers in the 25th Century | Kaleel | Episode "Planet of the Slave Girls" |- | Unknown Powers | Presenter/Narrator | |- | 1981 | Tales of the Haunted | Stokes | Episode "Evil Stalks This House" |- | 1982–1986 | Ripley's Believe It or Not! | Himself - Host | Series |- | 2001 | Night Visions | Jake Jennings | Episode "Bitter Harvest" |}

References

External links

BBC News - Western Star Jack Palance dies

CNN News - Oscar winner Jack Palance dead at 87

Category:American film actors Category:American stage actors Category:American television actors Category:Best Supporting Actor Academy Award winners Category:Best Supporting Actor Golden Globe (film) winners Category:Actors from Pennsylvania Category:People from Luzerne County, Pennsylvania Category:Ukrainian actors Category:American people of Ukrainian descent Category:American actors of Ukrainian descent Category:Spaghetti Western actors Category:Stanford University alumni Category:Western (genre) film actors Category:1919 births Category:2006 deaths Category:United States Army Air Forces pilots of World War II

Name	George Raft
Caption	from Invisible Stripes (1939)
Birth date	September 26, 1901
Birth place	New York City, New York, U.S.
Death date	November 24, 1980
Death place	Los Angeles, California, U.S.
Birth name	George Ranft
Occupation	Actor
Years active	1929–1978
Spouse	Grace Mulrooney (1923-1970) (her death)

George Raft (September 26, 1901 – November 24, 1980) was an American film actor identified with portrayals of gangsters in crime melodramas of the 1930s and 1940s. Today George Raft is mostly known for his role in Billy Wilder's 1959 comedy Some Like it Hot and also Scarface (1932), Bolero (1934), and They Drive by Night (1940).

Early life

Raft was born George Ranft on September 26, 1901 in Hell's Kitchen, New York City to German immigrant Conrad Ranft and his wife Eva Glockner. His parents were married on November 17, 1895 in Manhattan, and his sister, Eva, known as "Katie" was born on April 18, 1896. Although Raft's birth year has been reportedly to be 1895, the 1900 Census for New York City lists only his sister, Katie,as his parent's only child with two children born and only one living. On the 1910 Census, he is listed as being 8 years old, and his birth record can be found in the New York City birth index as being 1901. A boyhood friend of gangster Owney Madden, he admittedly narrowly avoided a life of crime.

Career

As a young man he showed aptitude in dancing, and with his elegant fashion sense, this enabled him to gain employment as a dancer in New York City nightclubs. He became part of the stage act of Texas Guinan and his success led him to Broadway where he again worked as a dancer. He worked in London as a chorus boy in the early 1920s.

Vi Kearney, later a dancer in shows for Charles Cochran and Andre Charlot, was quoted as saying: }}

In 1929, Raft relocated to Hollywood and took small roles. His success came in Scarface (1932), and Raft's convincing portrayal led to speculation that Raft was a gangster. Due to his life-long friendship with Owney Madden, Raft was a friend or acquaintance of several other crime figures, including Bugsy Siegel and Siegel's old friend Meyer Lansky. When Gary Cooper's romantic escapades put him on one gangster's hit list, Raft reportedly interceded and persuaded the mobster to spare Cooper.

He was one of the three most popular gangster actors of the 1930s, with James Cagney and Edward G. Robinson. Raft and Cagney worked in Each Dawn I Die (1939) as convicts in prison. He advocated for the casting of his friend Mae West in a supporting role in his first film as leading man, Night After Night (1932), which launched her movie career. Raft appeared the following year in Raoul Walsh's period piece The Bowery as Steve Brodie the first man to jump off Brooklyn Bridge and survive, with Wallace Beery, Jackie Cooper, Fay Wray and Pert Kelton.

Some of his other films include If I Had A Million (1932), in which he played a forger hiding from police, suddenly given a million dollars with no place to cash the check, Bolero (1934; a rare role as a dancer rather than a gangster), an adaptation of Dashiell Hammett's The Glass Key (1935) (remade in 1942 with Alan Ladd in Raft's role), Souls at Sea (1937) with Gary Cooper, two with Humphrey Bogart: Invisible Stripes (1939) and They Drive by Night (1940), each with Bogart in supporting roles, and Manpower (1941) with Edward G. Robinson and Marlene Dietrich. Although Raft received third billing in Manpower, he played the lead.

The years 1940 and 1941 proved to be Raft's career peak. He went into professional decline over the next decade, in part due to turning down some of the famous roles in movie history, notably High Sierra and The Maltese Falcon; both roles transformed Humphrey Bogart from supporting player to a major force in Hollywood in 1941. Raft was also reported to have turned down Bogart's role in Casablanca (1942), although according to Warner Bros. memos, this story is apocryphal.

Following the release of the espionage thriller Background to Danger (1943), a film intended to capitalize on the success of Casablanca, Raft demanded termination of his Warner Brothers contract. Jack Warner was prepared to pay Raft a $10,000 settlement, but the actor either misunderstood or was so eager to be free of the studio that it was he who gave Warner a check in that amount.

Approached by director Billy Wilder, he refused the lead role in Double Indemnity (1944), which led to the casting of Fred MacMurray. His career choices (he was more or less illiterate, which made judging scripts problematic), combined with the public's growing distaste for his apparent gangster lifestyle, ended his career as a leading man in mainstream movies. and George Raft pictured in 1979]]

During the 1950s he worked as a greeter at the Capri Casino in Havana, Cuba, where he was part owner along with Meyer Lansky and Santo Trafficante. In 1953, Raft also starred as Lt. George Kirby in a syndicated television series police drama entitled I'm the Law which ran for one season.

He satirized his gangster image with a well-received performance in Some Like it Hot (1959), but this did not lead to a comeback, and he spent the remainder of the decade making films in Europe. He played a small role as a casino owner in Ocean's Eleven (1960) opposite the Rat Pack. His final film appearances were in Sextette (1978), reunited with Mae West in a cameo, and The Man with Bogart's Face (1980).

Fred Astaire, in his autobiography Steps in Time (1959), says Raft was a lightning-fast dancer and did "the fastest Charleston I ever saw."

Ray Danton played Raft in The George Raft Story (1961), which co-starred Jayne Mansfield.

In the 1991 biographical movie Bugsy, the character of George Raft was played by Joe Mantegna.

Raft has two stars on the Hollywood Walk of Fame for contributions to Motion Pictures, at 6150 Hollywood Boulevard, and for Television at 1500 Vine St.

Personal life and death

Raft married Grayce Mulrooney, several years his senior, in 1923, long before his stardom. The pair separated soon thereafter, but Grayce, a devout Catholic, refused to grant Raft a divorce, and he remained married to and supported her until her death in 1970. A romantic figure in Hollywood, Raft had love affairs with Betty Grable, Marlene Dietrich, and Mae West. He stated publicly that he wanted to marry Norma Shearer, with whom he had a long romance, but his wife's refusal to allow a divorce eventually caused Shearer to end the affair.

In 1965, Raft was indicted for, and pled guilty to, income tax evasion and could have ended his life behind bars, but the court proved merciful when he wept before the judge, begging that he not be sent to prison, and he was sentenced to probation.

Raft died from leukemia at age 79 in Los Angeles, California, on November 24, 1980. He was interred in Forest Lawn - Hollywood Hills Cemetery in Los Angeles.

Selected filmography

Queen of the Night Clubs (1929) with Texas Guinan

Gold Diggers of Broadway (1929)

Side Street (1929) with Tom Moore, Owen Moore, and Matt Moore (Raft unbilled dancer)

Quick Millions (1931) with Spencer Tracy and Marguerite Churchill

Goldie (1931) with Spencer Tracy and Jean Harlow

Hush Money (1931) with Joan Bennett and Myrna Loy

Palmy Days (1931) with Eddie Cantor

Scarface (1932) with Paul Muni and Ann Dvorak (Raft flips the nickel in his breakthrough role)

Love Is a Racket (1932) (scenes deleted)

Madame Racketeer (1932) with Alison Skipworth and Richard Bennett

Night World (1932) with Lew Ayres, Mae Clarke, and Boris Karloff

Dancers in the Dark (1932) with Miriam Hopkins

Taxi! (1932) with James Cagney and Loretta Young

Winner Take All (1932) with James Cagney

Night After Night (1932) with Mae West as a fictionalized Texas Guinan (Raft's 1st leading role)

Under Cover Man (1932) with Nancy Carroll

If I Had a Million (1932; Raft plays a forger who can't cash his million dollar check)

Pick-Up (1933) with Sylvia Sidney

The Bowery (1933) with Wallace Beery, Fay Wray, and Pert Kelton (Raft 2nd billed)

The Midnight Club (1933) with Clive Brook (Raft 2nd billed)

The Trumpet Blows (1934) with Adolphe Menjou

All of Me (1934) with Fredric March and Miriam Hopkins (Raft 3rd billed)

Bolero (1934) with Carole Lombard and Ray Milland (besides Scarface, Raft's signature film)

Limehouse Blues (1934) with Anna May Wong

Every Night at Eight (1935) with Alice Faye and Frances Langford

The Glass Key (1935) with Edward Arnold

She Couldn't Take It (1935) with Joan Bennett

Stolen Harmony (1935) with Lloyd Nolan and William Cagney

Rumba (1935) with Carole Lombard

Yours for the Asking (1936) with Dolores Costello and Ida Lupino

It Had to Happen (1936) with Rosalind Russell

Souls at Sea (1937) with Gary Cooper (Raft 2nd billed)

You and Me (1938) with Sylvia Sidney (with bizarre musical interludes by Kurt Weill)

Spawn of the North (1938) with Henry Fonda and John Barrymore

I Stole a Million (1939) with Claire Trevor

The Lady's from Kentucky (1939) with Ellen Drew

Each Dawn I Die (1939) with James Cagney (Raft 2nd billed)

Invisible Stripes (1939) with William Holden and Humphrey Bogart

The House Across the Bay (1940) with Joan Bennett

They Drive by Night (1940) with Ann Sheridan, Ida Lupino, and Humphrey Bogart

Manpower (1941) with Edward G. Robinson and Marlene Dietrich (Raft 3rd billed but played the lead)

Broadway (1942) with Pat O'Brien and Broderick Crawford (Raft plays himself as a young Broadway dancer)

Background to Danger (1943) with Sydney Greenstreet and Peter Lorre

Stage Door Canteen (1943) with an all-star cast

Follow the Boys (1944) with Vera Zorina

Nob Hill (1945) with Joan Bennett

Johnny Angel (1945) with Claire Trevor and Hoagy Carmichael

Whistle Stop (1946) with Ava Gardner and Victor McLaglen

Nocturne (1946)

Mr. Ace (1946) with Sylvia Sidney

Christmas Eve (1947) with Randolph Scott and George Brent

Race Street (1948) with William Bendix, Marilyn Maxwell and Harry Morgan

Red Light (1949) with Virginia Mayo, Gene Lockhart and Raymond Burr

A Dangerous Profession (1949) with Ella Raines, Pat O'Brien and Jim Backus

I'll Get You for This (1951)

Loan Shark (1952)

Rogue Cop (1954) with Robert Taylor and Janet Leigh (Raft 3rd billed)

Black Widow (1954) with Van Heflin, Ginger Rogers, and Gene Tierney

Around the World in 80 Days (1956) with David Niven and Marlene Dietrich (Raft cameo)

Some Like It Hot (1959) with Marilyn Monroe, Tony Curtis and Jack Lemmon (Raft 4th billed)

Ocean's Eleven (1960) with the Rat Pack (Frank Sinatra, Dean Martin, Sammy Davis, Jr. and Joey Bishop)

The Ladies Man (1961) with Jerry Lewis (Raft cameo)

The Patsy (1964)

The Upper Hand (1966) with Jean Gabin (Raft 2nd billed)

Casino Royale (1967)

Skidoo (1968) with Jackie Gleason and Groucho Marx

Madigan's Millions (1968) with Dustin Hoffman and Elsa Martinelli

Sextette (1978) with Mae West and Timothy Dalton

Footnotes

1900 United States Federal Census, Census Place: Manhattan, New York, New York; Roll T623_1109; Page: 4B; Enumeration District: 642.

1910; Census Place: Manhattan Ward 12, New York, New York; Roll T624_1025; Page: 19A; Enumeration District: 668; Image: 1104

Ancestry.com. New York City Births, 1891-1902 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2000.

New York City Grooms Index,http://www.italiangen.org/NYCmarriageresults.asp?kind=exact&Esurname;=ranft&Efirst;=&CertNbr;=&StartYear;=&EndYear;=&B1;=Submit.

New York City Birth Index,familysearch.org,https://beta.familysearch.org/s/recordDetails/show?uri=http%3A%2F%2Fpilot.familysearch.org%2Frecords%2Ftrk%3A%2Ffsrs%2Frr_655994601%2Fp1&hash;=MPAfKvgWGXfZ5STyuqUCQxOVNk8%253D.

Social Security Death Index, Ancestry.com.

Further reading

Beaver, Jim. George Raft. Films in Review, April, 1978.

Lewis, Brad. Hollywood's Celebrity Gangster. The Incredible Life and Times of Mickey Cohen. Enigma Books: New York, 2007. ISBN 978-1-929631-65-0.

Parish, James Robert. The George Raft File: The Unauthorized Biography. New York: Drake Publishers, 1973. ISBN 0877495203.

Wallace, Stone. George Raft-The Man Who Would Be Bogart. Albany: BearManor Media, 2008. ISBN 1-59393-123-9.

Yablonsky, Lewis. George Raft. New York: McGraw-Hill Book Co., 1974. ISBN 0070722358.

External links

Category:American film actors Category:American actors of German descent Category:Deaths from leukemia Category:People from Hell's Kitchen, Manhattan Category:Stuyvesant High School alumni Category:Vaudeville performers Category:Cancer deaths in California Category:1895 births Category:1980 deaths

Name	Errol Flynn
Caption	Errol Flynn c.1940
Birth name	Errol Leslie Thompson Flynn
Birth place	Hobart, Tasmania, Australia He was known for his romantic swashbuckler roles in Hollywood films and his flamboyant lifestyle.
Name	Flynn, Errol
Short description	actor
Date of birth	20 June 1909
Place of birth	Hobart, Tasmania, Australia
Date of death	14 October 1959
Place of death	Vancouver, British Columbia, Canada

Category:Alcohol-related deaths in Canada Category:American expatriates in Jamaica Category:American film actors Category:American people of Australian descent Category:American actors of English descent Category:American people of Irish descent Category:American actors of Scottish descent Category:Australian film actors Category:Australian expatriate actors in the United States Category:Australian expatriates in Jamaica Category:Australian expatriates in the United Kingdom Category:Australian immigrants to the United States Category:Australian people of English descent Category:Australian people of Irish descent Category:Australian people of Scottish descent Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Deaths from myocardial infarction Category:Naturalized citizens of the United States Category:20th-century actors Category:People from Sydney Category:People from Tasmania Category:Shore Old Boys Category:Western (genre) film actors Category:1909 births Category:1959 deaths Category:People from Hobart

Name	Elia Kazan
Birth name	Elia Kazanjoglous (greek: Ηλίας Καζαντζόγλου)
Birth date	September 07, 1909
Birth place	Constantinople, Ottoman Empire
Death date	September 28, 2003
Death place	New York City, New York, USA
Years active	1934–1976
Spouse	Molly Day Thatcher (1932–1963; her death)Barbara Loden (1967–1980; her death)Frances Rudge (1982–2003; his death)}}

Elia Kazan (; September 7, 1909 – September 28, 2003) was a Greek-American director, described as "one of the most honored and influential directors in Broadway and Hollywood history". Overall, Kazan influenced the films of the 1950s and 1960s by his run of provocative, issues-driven subjects, and acting. Moreover, his personal brand of cinema, employing real locations over sets, unknowns over stars, and realism over convenient genres, proved influential to a whole generation of independent filmmakers in the 1960s, such as Sidney Lumet, John Cassavetes, Arthur Penn, Woody Allen, and Martin Scorsese. Film author Ian Freer concludes that "If his achievements are tainted by political controversy, the debt Hollywood — and actors everywhere — owes him, is enormous."

Early life

Elia Kazan was born in the Phanar, the traditional Greek quarter of what is now Istanbul, Turkey to a family of Greek descent originally from Anatolia. His parents, George and Athena Kazanjoglou, (née Shishmanoglou,) emigrated to the United States when he was four years old. He was named after his paternal grandfather, Elia Kazanjoglou. His maternal grandfather was Isaak Shishmanoglou. He had a brother, Avraam Kazan, who was born in Berlin, and later became a psychiatrist. Much of his early life was portrayed in his autobiographical book, America America, which he made into a film in 1963. In it, he describes his family as "alienated" from both their parents' Greek Orthodox values and from those of mainstream America.

After attending public schools in New York, he enrolled at Williams College in Massachusetts, where he helped pay his way by waiting tables and washing dishes, although he still graduated cum laude. He also worked as a bartender at various fraternities, but never joined one. While a student at Williams, he earned the nickname "Gadg," for gadget, because, he said, "I was small, compact, and handy to have around."

Kazan discusses his family's Turkish and staunchly Greek ethnic/cultural background with film critic Michel Ciment: :The Anatolian Greeks are a completely terrorised people. My father's family comes from the interior of Asia Minor, from a city called Kayseri, and they never forgot they were part of a minority. They were surrounded with periodic slaughters - or riots: the Turks would suddenly have a crisis and massacre a lot of Armenians, or they'd run wild and kill a lot of Greeks. The Greeks stayed in their houses. The fronts of the houses were almost barricaded, the windows shut with wooden shutters. One of the first memories I have is of sleeping in my grandmother's bed and my grandmother telling me stories about the massacre of the Armenians, and how she and my grandfather hid Armenians in the cellar of their home.

;America America In his book and later film by the same title, America America, he tells how, and why, his family left Turkey and moved to America. Kazan notes that much of it came from stories that he heard as a young boy. He says during an interview that "it's all true: the wealth of the family was put on the back of a donkey, and my uncle, really still a boy, went to Constantinople ... to gradually bring the family there to escape the oppressive circumstances... It's also true that he lost the money on the way, and when he got there he swept rugs in a little store."

Kazan notes some of the controversial aspects of what he put in the film. He writes, "I used to say to myself when I was making the film that America was a dream of total freedom in all areas."

Kazan writes of the movie, "It's my favorite of all the films I've made; the first film that was entirely mine."

Kazan's first national success came as New York theatrical director. Although initially he worked as an actor on stage, and told early in his acting career that he had no acting ability, he surprised many critics by becoming one of the Group’s most capable actors. In 1935 he played the role of a strike-leading taxi driver in a drama by Clifford Odets, Waiting for Lefty, and his performance was called "dynamic," leading some to describe him as the "proletarian thunderbolt."

The Group Theater's summer rehearsal headquarters was at Pine Brook Country Club, located in the countryside of Nichols, Connecticut, during the 1930s and early 1940s. Along with Kazan were numerous other artists: Harry Morgan, John Garfield, Luise Rainer, Frances Farmer, Will Geer, Howard Da Silva, Clifford Odets, Lee J. Cobb and Irwin Shaw.

Actors Studio

In 1947, he founded the Actors Studio, a non-profit workshop, with actors Robert Lewis and Cheryl Crawford. It soon became famous for promoting "Method," a style of theater and acting involving "total immersion of actor into character," writes film author Ian Freer. According to Rapf, "the Studio rode the bandwagon of method fashionability, and Kazan was its clear star and attraction."

Student James Dean, in a letter home to his parents, writes that Actors Studio was "the greatest school of the theater [and] the best thing that can happen to an actor". Playwright Tennessee Williams said of its actors: "They act from the inside out. They communicate emotions they really feel. They give you a sense of life." Contemporary directors like Sidney Lumet, a former student, have intentionally used actors such as Al Pacino, a former student skilled in "Method".

Kazan directed one of the Studio's brightest young talents, Marlon Brando, in the stage adaptation of Tennessee Williams' A Streetcar Named Desire. He cast him again in the film version in 1951, which made Brando a star and won 4 Oscars, and was nominated for 12.

Among the other Broadway plays he directed were "Cat on a Hot Tin Roof", "Sweet Bird of Youth", "The Dark at the Top of the Stairs" and "Tea and Sympathy", This led some, such as movie critic Eric Bentley, to write that "the work of Elia Kazan means more to the American theater than that of any current writer."

Film career

At the height of his stage success, Kazan then turned to Hollywood where he soon demonstrated equal skill as director of motion pictures. He first directed two short films, but his first feature film was A Tree Grows in Brooklyn (1945), one his first attempts to film dramas focused on contemporary concerns, which became his forte. Two years later he directed Gentleman's Agreement, where he tackled a seldom-discussed topic in America, antisemitism, for which he won his first Oscar as Best Director. In 1949 he again dealt with controversial subject when he directed Pinky, which dealt with issues of racism in America, and was nominated for 3 Academy Awards.

In 1947, he directed the courtroom drama Boomerang!, and in 1950 he directed Panic in the Streets, starring Richard Widmark, in a thriller shot on the streets of New Orleans. In the that film, Kazan experimented with a documentary style of cinematography, which succeeded in "energizing" the action scenes.

The film made use of extensive on-location street scenes and waterfront shots, and included a notable score by composer Leonard Bernstein. British film critic Ian Freer notes that despite Kazan naming Communist party members to the House Committee on Un-American Activities two years earlier, "the film is ambivalent about the act of informing."

However, his first major stage success was his role as an awkward suitor of Vivien Leigh in "A Streetcar Named Desire", which also helped make Brando a star on stage. After two years in the role, he played the same part in the 1951 film version, where he won his first Oscar for Best Supporting Actor. Kazan next directed him in On the Waterfront (1954), where he was also nominated as Best Supporting Actor for his role as a sympathetic priest. In 1956, Kazan directed him in a starring role in Baby Doll, alongside Carroll Baker and Eli Wallach, a controversial story written by Tennessee Williams, and he was nominated for a Golden Globe Award for Best Actor.

Malden remained friends with Kazan despite his unpopular appearance at the HUAC in 1952. Many mutual "friends who turned on Kazan also refused to speak to Malden." The film's success introduced James Dean to the world and established him as a popular actor. He went on to star in Rebel Without a Cause (1955), directed by Kazan's friend, Nicholas Ray, and then Giant, (dir. George Stevens, 1956)

Author Douglas Rathgeb describes the difficulties Kazan had in turning Dean into a new star, noting how Dean was a controversial figure at Warner Bros. from the time he arrived. There were rumors that he "kept a loaded gun in his studio trailer; that he drove his motorcycle dangerously down studio streets or sound stages; that he had bizarre and unsavory friends." As a result, Kazan was forced to "baby-sit the young actor in side-by-side trailers," so he wouldn't run away during production. Costar Julie Harris worked overtime to quell Dean's panic attacks. In general, Dean was oblivious to Hollywood's methods, and Rathgeb notes that "his radical style did not mesh with Hollywood's corporate gears."

Dean himself was amazed at his own performance on screen when he later viewed a rough cut of the film. Kazan had invited director Nicholas Ray to a private showing, with Dean, as Ray was looking for someone to play the lead in Rebel Without a Cause. Ray watched Dean's powerful acting on the screen, but it didn't seem possible that it was the same person in the room, who Ray felt was shy and totally withdrawn as he sat there hunched over. "Dean himself did not seem to believe it," notes Rathgeb. "He watched himself with an odd, almost adolescent fascination, as if he were admiring someone else." Biskind notes also that they "were wildly dissimilar—mentor vs. protege, director vs. actor, immigrant outsider vs. native son. Kazan was armed with the confidence born of age and success, while Beatty was virtually aflame with the arrogance of youth." In 1961, after a "series of bad films, her career was already in decline," notes Rathgeb.

Williams became one of Kazan's closest and most loyal friends, and Kazan often pulled Williams out of "creative slumps" by redirecing his focus with new ideas. In 1959, in a letter to Kazan, he writes, “Some day you will know how much I value the great things you did with my work, how you lifted it above its measure by your great gift.”

:Now what I try to do is get to know them very well. I take them to dinner. I talk to them. I meet their wives. I find out what the hell the human material is that I'm dealing with, so that by the time I take an unknown he's not an unknown to me. Kazan himself states that "unless the character is somewhere in the actor himself, you shouldn't cast him."

Use of "Method" acting

, in 1st film role, with Patricia Neal, from A Face in the Crowd (1957)]] As a product of the Group Theater and Actors Studio, he was most noted for his use of "Method" actors, especially Brando and Dean. During an interview in 1988, Kazan said, "I did whatever was necessary to get a good performance including so-called Method acting. I made them run around the set, I scolded them, I inspired jealousy in their girlfriends... The director is a desperate beast! ... You don't deal with actors as dolls. You deal with them as people who are poets to a certain degree." Kazan, many years later, explained his rationale for scenes in that film:

:What is erotic about sex to me is the seduction, not the act... The scene on the swings (Eli Wallach and Carroll Baker) in Baby Doll is my exact idea of what eroticism in films should be.

Being an "actor's director"

Joanna Rapf adds that Kazan was most admired for his close work with actors, noting that director Nicholas Ray considered him "the best actor's director the United States has ever produced."

Among the actors who describe Kazan as an important influence in their career were Patricia Neal, who co-starred with Andy Griffith in A Face in the Crowd (1957): "He was very good. He was an actor and he knew how we acted. He would come and talk to you privately. I liked him a lot."

on the set of The Arrangement (1969)]] However, in order to get quality acting from Andy Griffith, in his first screen appearance, and achieve what Schickel calls "an astonishing movie debut,"

Actress Terry Moore calls Kazan her "best friend," and notes that "he made you feel better than you thought you could be. I never had another director that ever touched him. I was spoiled for life."

Marlon Brando, in his autobiography, goes into detail about the influence Kazan had on his acting: :I have worked with many movie directors – some good, some fair, some terrible. Kazan was the best actors' director by far of any I've worked for... the only one who ever really stimulated me, got into a part with me and virtually acted it with me... he chose good actors, encouraged them to improvise, and then improvised on the improvisation... He gave his cast freedom and ... was always emotionally involved in the process and his instincts were perfect... I've never seen a director who became as deeply and emotionally involved in a scene as Gadg... he got so wrought up that he started chewing on his hat.

:He was an arch-manipulator of actors' feelings, and he was extraordinarily talented; perhaps we will never see his like again.

HUAC testimony

Kazan remained controversial in some circles until his death for testimony he gave before the House Committee on Un-American Activities (HUAC) in 1952, a period that many, such as journalist Michael Mills, feel was "the most controversial period in Hollywood history." When he was in his mid 20s, during the "Depression" years 1934 to 1936, he had been a member of the American Communist Party in New York, for a year and a half.

In April 1952, the Committee called on Kazan, under oath, to identify Communists from that period 16 years earlier. Kazan initially refused to provide names, but eventually named eight former Group Theater members who he said had been Communists: Clifford Odets, J. Edward Bromberg, Lewis Leverett, Morris Carnovsky, Phoebe Brand, Tony Kraber, Ted Wellman, and Paula Miller, who later married Lee Strasberg. He testified that Odets quit the party at the same time that he did. All the persons named were already known to HUAC, however. The move cost Kazan many friends within the film industry, including that of playwright Arthur Miller, and cast a pall over his later career.

Kazan would later write in his autobiography of the "warrior pleasure at withstanding his 'enemies.' When Kazan received an Honorary Academy Award in 1999, the audience was noticeably divided in their reaction, with some refusing to applaud, and many others, such as actor Warren Beatty and producer George Stevens, Jr. standing and applauding. Stevens speculates on why he, Beatty, and many others in the audience chose to stand and applaud:

:I never discussed it with Warren, but I believe we were both standing for same reason—out of regard for the creativity, the stamina and the many fierce battles and lonely nights that had gone into the man's twenty motion pictures.

His controversial stand during his testimony in front of the House Committee on Un-American Activities in 1952, became the low point in his career, although he remained convinced that he made the right decision to give the names of Communist Party members. He stated in an interview in 1976:

:''I would rather do what I did than crawl in front of a ritualistic Left and lie the way those other comrades did, and betray my own soul. I didn't betray it. I made a difficult decision. Kazan appreciated the award:

:I want to thank the Academy for its courage, its generosity. Thank you all very much. Now I can just slip away.

In his autobiography, A Life, he sums up the influence of filmmaking on his life: :I realize now that work was my drug. It held me together. It kept me high. When I wasn't working, I didn't know who I was or what I was supposed to do. This is general in the film world. You are so absorbed in making a film, you can't think of anything else. It's your identity, and when it's done you are nobody. 1960: Golden Bear – Wild River

;Cannes Film Festival Awards

1955: Best Dramatic Film – East of Eden (1955)

;;Nominations

1952: Grand Prize of the Festival – Viva Zapata!

1955: Palme d'Or (Golden Palm) – East of Eden

1972: Palme d'Or – The Visitors

;Venice Film Festival Awards

1950: International Award – Panic in the Streets

1951: Special Jury Prize – A Streetcar Named Desire

1954: Italian Film Critics Award – On the Waterfront

1954: Leone d’Argento (Silver Lion) – On the Waterfront

1955: OCIC Award – On the Waterfront

;;Nominations

1948: Leone d'Oro (Golden Lion) – Gentleman's Agreement

1950: Leone d'Oro – Panic in the Streets (1950)

1951: Leone d'Oro – A Streetcar Named Desire

1954: Leone d'Oro – On the Waterfront

Filmography

Bibliography

References

Further reading

External links

Videos

“The Life, Works, and Impact of Elia Kazan” video, 10 minutes

Receiving an Honorary Oscar video, 3 minutes

Elia Kazan discussing ‘’On the Waterfront’’ video, 10 minutes

Christopher Plummer - Working with Elia Kazan video, 5 minutes

Articles

Method Man: Elia Kazan's Singular Career by John Lahr in The New Yorker (A Critic at Large)

Assessing Kazan: His Life and Choice (NYT Books of the Times)

Some notes on Kazan, HUAC, and the aftermath of his testimony including his April 13, 1952 statement in the New York Times

Literature on Elia Kazan

Category:1909 births Category:2003 deaths Category:People from Kayseri Category:American film directors Category:American theatre directors Category:Academy Honorary Award recipients Category:Best Director Golden Globe winners Category:American people of Greek descent Category:Anatolian Greeks Category:Kennedy Center honorees Category:Tony Award winners Category:Williams College alumni Category:Yale School of Drama alumni Category:American film actors Category:American screenwriters Category:American film producers Category:Academy Award winners Category:Best Director Academy Award winners

Name	Cary Grant
Caption	Grant in 1973, by Allan Warren
Birth name	Archibald Alexander Leach
Birth date	January 18, 1904
Birth place	Bristol, England
Death date
Death place	Davenport, Iowa, United States
Other names	Archie Leach
Occupation	Actor
Years active	1932–1966
Spouse	Virginia Cherrill (1934–1935)Barbara Hutton (1942–1945)Betsy Drake (1949–1962)Dyan Cannon (1965–1967)Barbara Harris (1981–1986)
Partner	Maureen Donaldson (1973–1977)
Children	Jennifer Grant, born on February 26, 1966
Relations	Cary Benjamin Grant, born on August 12, 2008
Awards	Academy Honorary Award1970 For his unique mastery of the art of screen acting with the respect and affection of his colleagues.

Archibald Alexander Leach (January 18, 1904 – November 29, 1986), better known by his stage name Cary Grant, was an English-American actor. With his distinctive yet not quite placeable Mid-Atlantic accent, he was noted as perhaps the foremost exemplar of the debonair leading man: handsome, virile, charismatic, and charming.

He was named the second Greatest Male Star of All Time by the American Film Institute. His popular classic films include She Done Him Wrong (1933), Topper (1937), The Awful Truth (1937), Bringing Up Baby (1938), Gunga Din (1939), Only Angels Have Wings (1939), His Girl Friday (1940), The Philadelphia Story (1940), Suspicion (1941), The Talk of the Town (1942), Arsenic and Old Lace (1944), Notorious (1946), Mr. Blandings Builds His Dream House (1948), To Catch A Thief (1955), An Affair to Remember (1957), North by Northwest (1959), and Charade (1963).

Nominated twice for the Academy Award for Best Actor and five times for a Golden Globe Award for Best Actor, he missed out every time until he was finally honored with an Honorary Award at the 42nd Academy Awards "for his unique mastery of the art of screen acting with the respect and affection of his colleagues".

Early life and career

Archibald Alexander Leach was born in Horfield, Bristol, to Elsie Maria Kingdon (1877–1973) and Elias James Leach (1873–1935). An only child, he had an unhappy childhood, attending Bishop Road Primary School. His mother had suffered from depression since the death of a previous child. His father placed her in a mental institution, and told his nine-year-old son only that she had gone away on a "long holiday"; it was not until he was in his thirties that Grant discovered her alive, in an institutionalized care facility.

He was expelled from the Fairfield Grammar School in Bristol in 1918. He subsequently joined the "Bob Pender stage troupe" and travelled with the group to the United States as a stilt walker in 1920 at the age of 16, on a two-year tour of the country. He was processed at Ellis Island on July 28, 1920. When the troupe returned to the UK, he decided to stay in the U.S. and continue his stage career. During this time, he became a part of the vaudeville world and toured with Parker, Rand and Leach. (After departing the troupe, he was to be replaced by a young James Cagney for a brief time.) Still using his birth name, he performed on the stage at The Muny in St. Louis, Missouri, in such shows as Irene (1931); Music in May (1931); Nina Rosa (1931); Rio Rita (1931); Street Singer (1931); The Three Musketeers (1931); and Wonderful Night (1931).

Hollywood stardom

After some success in light Broadway comedies, he went to Hollywood in 1931, where he acquired the name Cary Lockwood. He chose the name Lockwood after the surname of his character in a recent play called Nikki. He signed with Paramount Pictures, but while studio bosses were impressed with him, they were less than impressed with his adopted stage name. They decided that the name Cary was acceptable, but Lockwood had to go due to a similarity with another actor's name. It was after browsing through a list of the studio's preferred surnames, that "Cary Grant" was born. Grant chose the name because the initials C and G had already proved lucky for Clark Gable and Gary Cooper, two of Hollywood's biggest movie stars.

Already having appeared as leading man opposite Marlene Dietrich in Blonde Venus (1932), his stardom was given a further boost by Mae West when she chose him for her leading man in two of her most successful films, She Done Him Wrong and I'm No Angel (both 1933). I'm No Angel was a tremendous financial success and, along with She Done Him Wrong, which was nominated for an Academy Award for Best Picture, saved Paramount from bankruptcy. Paramount put Grant in a series of unsuccessful films until 1936, when he signed with Columbia Pictures. His first major comedy hit was when he was loaned to Hal Roach's studio for the 1937 Topper (which was distributed by MGM).

(1940)]]

Grant starred in some of the classic screwball comedies, including Bringing Up Baby (1938) with Katharine Hepburn, His Girl Friday (1940) with Rosalind Russell, Arsenic and Old Lace (1944) featuring Priscilla Lane, and Monkey Business (1952) opposite Ginger Rogers and Marilyn Monroe. Under the tutelage of director Leo McCarey, his role in The Awful Truth (1937) with Irene Dunne was the pivotal film in the establishment of Grant's screen persona. These performances solidified his appeal, but it was The Philadelphia Story (1940), with Hepburn and James Stewart, that made him a star.

Grant was one of Hollywood's top box-office attractions for several decades. He was a versatile actor, who did demanding physical comedy in movies such as Gunga Din (1939) with the skills he had learned on the stage. Howard Hawks said that Grant was "so far the best that there isn't anybody to be compared to him".

's To Catch a Thief (1955)]]

Grant was a favorite of Alfred Hitchcock, who said that Grant was "the only actor I ever loved in my whole life". Grant appeared in the Hitchcock classics Suspicion (1941), Notorious (1946), To Catch a Thief (1955) and North by Northwest (1959). Biographer Patrick McGilligan wrote that, in 1965, Hitchcock asked Grant to star in Torn Curtain (1966), only to learn that Grant had decided to retire after making one more film, Walk, Don't Run (1966); Paul Newman was cast instead, opposite Julie Andrews.

In the mid-1950s, Grant formed his own production company, Grantley Productions, and produced a number of movies distributed by Universal, such as Operation Petticoat (1959), Indiscreet (1958), That Touch of Mink (co-starring with Doris Day, 1962), and Father Goose (1964). In 1963, he appeared opposite Audrey Hepburn in Charade (1963). His last feature film was Walk, Don't Run (1966) with Samantha Eggar and Jim Hutton.

Grant was the first actor to "go independent" by not renewing his studio contract, effectively bucking the old studio system, which almost completely controlled what an actor could or could not do. In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term. He decided which movies he was going to appear in, he often had personal choice of the directors and his co-stars and at times even negotiated a share of the gross, something uncommon at the time.

Grant was nominated for two Academy Awards in the 1940s. Grant received a special Academy Award for Lifetime Achievement in 1970. In 1981, he was accorded the Kennedy Center Honors.

In 1962, a few years before retiring, Time reported that he had once received a telegram from a magazine editor asking him "HOW OLD CARY GRANT?" Grant was reported to have responded with "OLD CARY GRANT FINE. HOW YOU?"

Never self absorbed, he even poked fun at himself with statements such as, "Everyone wants to be Cary Grant—even I want to be Cary Grant".

Retirement and death

Although Grant had retired from the screen, he remained active in other areas. In the late 1960s, he accepted a position on the board of directors at Fabergé. By all accounts this position was not honorary, as some had assumed, Grant regularly attended meetings and his mere appearance at a product launch would almost certainly guarantee its success. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working. He later joined the boards of Hollywood Park, Western Airlines (now Delta Air Lines), and MGM. Richard Schickel, the film critic, said about Grant: "He's the best star actor there ever was in the movies."

Personal life

Grant was married five times, and was dogged by rumors that he was bisexual. He wed Virginia Cherrill on February 10, 1934. She divorced him on March 26, 1935, following charges that Grant had hit her. In 1942 he married Barbara Hutton, one of the wealthiest women in the world, and became a father figure to her son, Lance Reventlow. The couple was derisively nicknamed "Cash and Cary", although in an extensive prenuptial agreement Grant refused any financial settlement in the event of a divorce. After divorcing in 1945, they remained lifelong friends. Grant always bristled at the accusation that he married for money: "I may not have married for very sound reasons, but money was never one of them."

On December 25, 1949, Grant married Betsy Drake. He appeared with her in two films. This would prove to be his longest marriage, ending on August 14, 1962. Drake introduced Grant to LSD, and in the early 1960s he related how treatment with the hallucinogenic drug —legal at the time— at a prestigious California clinic had finally brought him inner peace after yoga, hypnotism, and mysticism had proved ineffective. The couple divorced in 1962.

He eloped with Dyan Cannon on July 22, 1965 in Las Vegas. Their daughter, Jennifer Grant, was born prematurely on February 26, 1966. He frequently called her his "best production" and regretted that he had not had children sooner. The marriage was troubled from the beginning and Cannon left him in December 1966, claiming that Grant flew into frequent rages and spanked her when she "disobeyed" him. The divorce, finalized in 1968, was bitter and public, and custody fights over their daughter went on for nearly ten years.

On April 11, 1981, Grant married long-time companion British hotel public relations agent Barbara Harris, who was 47 years his junior. They renewed their vows on their fifth wedding anniversary. Fifteen years after Grant's death Harris married former Kansas Jayhawks All-American quarterback David Jaynes in 2001.

Grant allegedly was involved with costume designer Orry-Kelly when he first moved to Manhattan, and lived with Randolph Scott off and on for twelve years. Richard Blackwell wrote that Grant and Scott were "deeply, madly in love", and alleged eyewitness accounts of their physical affection have been published. and screenwriter Arthur Laurents also have alleged that Grant was bisexual, the latter writing that Grant "told me he threw pebbles at my window one night but was luckless". Alexander D'Arcy, who appeared with Grant in The Awful Truth, said he knew that he and Scott "lived together as a gay couple", adding: "I think Cary knew that people were saying things about him. I don't think he tried to hide it." When Chevy Chase joked about Grant being gay in a television interview Grant sued him for slander; they settled out of court. However, Grant did admit in an interview that his first two wives had accused him of being homosexual. Grant described his politics and his reticence about them this way:

Throughout his life, Grant maintained personal friendships with colleagues of varying political stripes and his few political activities seemed to be shaped by personal friendships. Repulsed by the human costs to many in Hollywood, Grant publicly condemned McCarthyism in 1953 and vocally defended his friend Charlie Chaplin when the latter was blacklisted, insisting that Chaplin's artistic value outweighed political concerns. Grant was also a friend of the Kennedy brothers and made one of his rare statements on public issues following the assassination of Robert F. Kennedy, calling for gun control. In 1976, after his retirement from movies, Grant made his one overtly partisan appearance, introducing his friend Betty Ford, the First Lady, at the Republican National Convention, but even in this he maintained some distance from partisanship, speaking of "your" party, rather than "ours" in his remarks. In 1958 Grant himself was criticized by right-wing columnist Hedda Hopper for vacationing in the Soviet Union after filming Indiscreet (1958). He appeared to inflame the controversy by remarking to an interviewer "I don't care what kind of government they have over there, I never had such a good time in my life".

Filmography

{|class="wikitable" |- ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Film ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- | rowspan=8|1932 | This Is the Night | Stephen | |- | Sinners in the Sun | Ridgeway | |- | Singapore Sue | First Sailor | |- | Merrily We Go to Hell | Charlie Baxter | UK title: Merrily We Go to _____ |- | Devil and the Deep | Lieutenant Jaeckel | |- | Blonde Venus | Nick Townsend | |- | Hot Saturday | Romer Sheffield | |- | Madame Butterfly | Lieutenant B.F. Pinkerton | |- | rowspan=6|1933 | She Done Him Wrong | Capt. Cummings | |- | The Woman Accused | Jeffrey Baxter | |- | The Eagle and the Hawk | Henry Crocker | |- | Gambling Ship | Ace Corbin | |- | I'm No Angel | Jack Clayton | |- | Alice in Wonderland | The Mock Turtle | |- | rowspan=4|1934 | Thirty Day Princess | Porter Madison III | |- | Born to Be Bad | Malcolm Trevor | |- | Kiss and Make-Up | Dr. Maurice Lamar | |- | Ladies Should Listen | Julian De Lussac | |- | rowspan=4|1935 | Enter Madame | Gerald Fitzgerald | |- | Wings in the Dark | Ken Gordon | |- | The Last Outpost | Michael Andrews | |- | Sylvia Scarlett | Jimmy Monkley | Directed by George Cukor |- | rowspan=4|1936 | Big Brown Eyes | Det. Sgt. Danny Barr | |- | Suzy | Andre | |- | The Amazing Quest of Ernest Bliss | Ernest Bliss | US title: Romance and Riches Alt title: The Amazing Adventure |- | Wedding Present | Charlie | |- | rowspan=4|1937 | When You're in Love | Jimmy Hudson | UK title: For You Alone |- | Topper | George Kerby | |- | The Toast of New York | Nicholas "Nick" Boyd | |- | The Awful Truth | Jerry Warriner | |- | rowspan=2|1938 | Bringing up Baby | Dr. David Huxley | Directed by Howard Hawks |- | Holiday | John "Johnny" Case | Directed by George CukorUK title: Free to Live |- | rowspan=3|1939 | Gunga Din | Sgt. Archibald Cutter | |- | Only Angels Have Wings | Geoff Carter | |- | In Name Only | Alec Walker | |- | rowspan=4|1940 | His Girl Friday | Walter Burns | |- | My Favorite Wife | Nick | |- | The Howards of Virginia | Matt Howard |UK title: The Tree of Liberty |- | The Philadelphia Story | C.K. Dexter Haven | |- | rowspan=2|1941 | Penny Serenade | Roger Adams | Nominated - Academy Award for Best Actor |- | Suspicion | Johnnie | Directed by Alfred Hitchcock |- | rowspan=2|1942 | The Talk of the Town | Leopold Dilg aka Joseph | |- | Once Upon a Honeymoon | Patrick "Pat" O'Toole | |- | rowspan=2|1943 | Mr. Lucky | Joe Adams/Joe Bascopolous | |- | Destination Tokyo | Capt. Cassidy | |- | rowspan=3|1944 | Once Upon a Time | Jerry Flynn | |- | Arsenic and Old Lace | Mortimer Brewster | |- | None But the Lonely Heart | Ernie Mott | Nominated - Academy Award for Best Actor |- | rowspan=3|1946 | Without Reservations | Himself (cameo) | |- | Night and Day | Cole Porter | |- | Notorious | T.R. Devlin |Directed by Alfred Hitchcock |- | rowspan=2|1947 | The Bachelor and the Bobby-Soxer | Dick | UK title: Bachelor Knight |- | The Bishop's Wife | Dudley | |- | rowspan=2|1948 | Mr. Blandings Builds His Dream House | Jim Blandings | |- | Every Girl Should Be Married | Dr. Madison W. Brown | |- | 1949 | I Was a Male War Bride | Capt. Henri Rochard | UK title: You Can't Sleep Here |- | 1950 | Crisis | Dr. Eugene Norland Ferguson | |- | 1951 | People Will Talk | Dr. Noah Praetorius | |- | rowspan=2|1952 | Room for One More | George "Poppy" Rose | |- | Monkey Business | Dr. Barnaby Fulton | |- | 1953 | Dream Wife | Clemson Reade | |- | 1955 | To Catch a Thief | John Robie |Directed by Alfred Hitchcock |- | rowspan=3|1957 | The Pride and the Passion | Anthony | |- | An Affair to Remember | Nickie Ferrante |A same-script remake of Love Affair (1939 film), both directed by Leo McCarey |- | Kiss Them for Me | Cmdr. Andy Crewson | |- | rowspan=2|1958 | Indiscreet | Philip Adams | Nominated - Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | Houseboat | Tom Winters | |- | rowspan=2|1959 | North by Northwest | Roger O. Thornhill |Directed by Alfred Hitchcock |- | Operation Petticoat | Lt. Cmdr. Matt T. Sherman | Nominated - Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | 1960 | The Grass Is Greener | Victor Rhyall, Earl | Nominated - Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | 1962 | That Touch of Mink | Philip Shayne | Nominated - Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | 1963 | Charade | Peter Joshua / Carson Dyle / Alexander Dyle / Adam Canfield / Brian Cruikshank | Nominated - BAFTA Award for Best Foreign ActorNominated - Golden Globe Award for Best Actor – Motion Picture Musical or Comedy |- | 1964 | Father Goose | Walter Christopher Eckland | |- | 1966 | Walk, Don't Run | Sir William Rutland | |}

References

Notes

Bibliography of cited references

Bogdanovich, Peter. Who the Hell's in It: Portraits and Conversations. New York: A.A. Knopf, 2004. ISBN 0-37540-010-9.

Eliot, Marc. Cary Grant: The Biography. New York: Aurum Press, 2005. ISBN 1-84513-073-1.

Higham, Charles and Roy Moseley. Cary Grant: The Lonely Heart. London: Thompson Learning, 1997. ISBN 0-15115-787-1.

Johannson, Warren and William A. Percy. Outing: Shattering the Conspiracy of Silence.. Kirkwood, New York: Harrington Park Press, 1994, pp. 146–147.

Kael, Pauline. "The Man from Dream City - Cary Grant" - The New Yorker - July 14, 1975 - (reprinted in: Pauline Kael: For Keeps - 30 Years at the Movies. New York: Dutton, 1994.)

Laurents, Arthur. Original Story by: A Memoir of Broadway and Hollywood. Milwaukee, Wisconsin: Hal Leonard Corp, 2001. ISBN 1-55783-467-9.

Mann, William J. Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969. New York: Viking, 2001. ISBN 0-67003-017-1.

McCann, Graham. Cary Grant: A Class Apart. London: Fourth Estate, 1997. ISBN 1-85702-574-1.

McGilligan, Patrick. Alfred Hitchcock: A Life in Darkness and Light. New York: Regan Books, 2003. ISBN 0-06039-322-X.

Morecambe, Gary; Sterling, Martin. Cary Grant: In Name Alone. London: Robson Books, 2001. ISBN 1-86105-466-1.

Nelson, Nancy and Cary Grant. Evenings With Cary Grant: Recollections In His Own Words and By Those Who Loved Him Best. Thorndike, Maine: Thorndike Press, 1992. ISBN 1-56054-342-6.

Russo, Vito. The Celluloid Closet: Homosexuality in the Movies [revised edition]. New York: Harrow & Row, 1987. ISBN 0-06096-132-5.

Wansell, Geoffrey. Cary Grant: Dark Angel. London: Arcade, 1997. ISBN 1-55970-369-5.

External links

CaryGrant.net with filmography and historic reviews and photo galleries

"The Man From Dream City" by Pauline Kael, originally published in The New Yorker, July 14, 1975

"Cary Grant: Style as a Martial Art" by Wu Ming, on the inclusion of Grant in their novel 54.

Radio Shows: The Ultimate Cary Grant Pages. A vast collection of mp3 files.

Category:Academy Honorary Award recipients Category:American film actors Category:American actors of English descent Category:California Republicans Category:Deaths from cerebral hemorrhage Category:Deaths from stroke

Category:English Anglicans Category:English film actors Category:English immigrants to the United States Category:Kennedy Center honorees Category:Naturalized citizens of the United States Category:Old Fairfieldians Category:People from Bristol Category:Stroke survivors Category:Vaudeville performers Category:20th-century actors Category:1904 births Category:1986 deaths