name	James Rufus Agee
birth name	James Rufus Agee
birth date	27 November 1909
birth place	Knoxville, Tennessee
death date	May 16, 1955
death place	New York City, New York
nationality	United States
notableworks	''A Death in the Family'', ''Let Us Now Praise Famous Men''
website	}}

James Rufus Agee ( ; November 27, 1909 – May 16, 1955) was an American author, journalist, poet, screenwriter and film critic. In the 1940s, he was one of the most influential film critics in the U.S. His autobiographical novel, ''A Death in the Family'' (1957), won the author a posthumous 1958 Pulitzer Prize.

Biography

James Agee was born in Knoxville, Tennessee, at Highland Avenue and 15th Street (renamed James Agee Street in 1999) in what is now the Fort Sanders neighborhood to Hugh James Agee and Laura Whitman Tyler. When Agee was six, his father was killed in an automobile accident. From the age of seven, Agee and his younger sister, Emma, were educated in boarding schools. The most influential of these was located near his mother's summer cottage two miles from Sewanee, Tennessee. Saint Andrews School for Mountain Boys was run by Episcopal monks affiliated with the Order of the Holy Cross. It was there that Agee's lifelong friendship with Episcopal priest Father James Harold Flye and his wife began in 1919. As Agee's close friend and spiritual confidant, Flye received many of Agee's most revealing letters.

Agee's mother married Father Erskind Wright in 1924, and the two moved to Rockland, Maine. Agee went to Knoxville High School for the 1924–1925 school year, then traveled with Father Flye to Europe in the summer, when Agee was sixteen. On their return, Agee transferred to a boarding school in New Hampshire, entering the class of 1928 at Phillips Exeter Academy. Soon after, he began a correspondence with Dwight Macdonald.

At Phillips Exeter, Agee was president of The Lantern Club and editor of the ''Monthly'' where his first short stories, plays, poetry and articles were published. Despite barely passing many of his high school courses, Agee was admitted to Harvard University's class of 1932. There Agee took classes taught by Robert Hillyer and I. A. Richards; his classmate in those was the future poet and critic Robert Fitzgerald, with whom he would eventually work at ''TIME''. Agee was editor-in-chief of the ''Harvard Advocate'' and delivered the class ode at his commencement. Soon after graduation, he married Via Saunders on January 28, 1933; they divorced in 1938. Later that same year, he married Alma Mailman.

In 1941 Alma moved to Mexico with their year-old son Joel, to live with Communist writer Bodo Uhse. Agee began living in Greenwich Village with Mia Fritsch, whom he married in 1946. They had two daughters, Teresa and Andrea, and a son John.

In 1951 in Santa Barbara, Agee, a hard drinker and chain-smoker, suffered the first two in a series of heart attacks. Four years later, on May 16, 1955, Agee was in New York City when he suffered a fatal second heart attack. Agee, 45, was in a taxi cab en route to a doctor's appointment, two days before the anniversary of his father's death. He was buried on a farm he owned at Hillsdale, New York, property still held by Agee descendants.

Career

After graduation, Agee moved to New York, where he wrote for ''Fortune'' and ''Time'' magazines, although he is better known for his later film criticism in ''The Nation''. In 1934, he published his only volume of poetry, ''Permit Me Voyage'', with a foreword by Archibald MacLeish.

In the summer of 1936, during the Great Depression, Agee spent eight weeks on assignment for ''Fortune'' with photographer Walker Evans, living among sharecroppers in Alabama. While ''Fortune'' did not publish his article, Agee turned the material into a book entitled, ''Let Us Now Praise Famous Men'' (1941). It sold only 600 copies before being remaindered. Agee left ''Fortune'' in 1939.

In 1942, Agee became the film critic for ''Time''; at one point, he also reviewed up to six books per week. Together, he and friend Whittaker Chambers ran "the back of the book" for ''Time''.

He left to become film critic for ''The Nation''.

In 1948, Agee quit both magazines to become a freelance writer. One of his assignments was a well-received article for ''Life Magazine'' about the great silent movie comedians Charles Chaplin, Buster Keaton, Harold Lloyd and Harry Langdon. The article has been credited for reviving Keaton's career. As a freelancer in the 1950s, Agee continued to write magazine articles while working on movie scripts, often with photographer Helen Levitt.

Agee was an ardent champion of Charlie Chaplin's then unpopular film ''Monsieur Verdoux'' (1947), since recognized as a film classic. He was also a great admirer of Laurence Olivier's ''Henry V'' and ''Hamlet'', especially ''Henry V''. He published three separate reviews of the movie, all of which have been printed in the collection ''Agee on Film''.

Screenwriting

Agee's career as a movie scriptwriter was curtailed by his alcoholism. Nevertheless he is one of the credited screenwriters on two of the most respected films of the 1950s: ''The African Queen'' (1951) and ''The Night of the Hunter'' (1955).

His contribution to ''Hunter'' is shrouded in controversy. Some critics have claimed the published script was written by the film's director Charles Laughton. Reports that Agee's screenplay for ''Hunter'' was incoherent have been proved false by the 2004 discovery of his first draft, which although 293 pages in length, is scene for scene the film which Laughton directed. While not yet published, the first draft has been read by scholars, most notably Professor Jeffrey Couchman of Columbia University. He credited Agee in the essay, "Credit Where Credit Is Due." Also false were reports that Agee was fired from the film. Laughton renewed Agee's contract and directed him to cut the script in half, which Agee did. Later, apparently at Robert Mitchum's request, Agee visited the set to settle a dispute between the star and Laughton. Letters and documents located in the archive of Agee's agent Paul Kohner bear this out; they were documented by Laughton's biographer Simon Callow, whose BFI book about ''The Night of the Hunter'' set this part of the record straight.

In 2008, Jeffrey Couchman published ''The Night of the Hunter: A Biography of a Film.'' http://nupress.northwestern.edu/Title/tabid/68/ISBN/0-8101-2542-0/Default.aspx A scholarly history and analysis of Charles Laughton’s masterpiece, it evaluates the film from many angles. The book also provides the first study of James Agee’s legendary first-draft script.

Legacy

During his lifetime, Agee enjoyed only modest public recognition. Since his death, his literary reputation has grown. In 1957, his novel, ''A Death in the Family'' (based on the events surrounding his father's death), was published posthumously and in 1958 won the Pulitzer Prize for fiction. In 2007, Dr. Michael Lofaro published a restored edition of the novel using Agee's original manuscripts. Agee's work had been heavily edited before its original publication by publisher David McDowell.

Agee's reviews and screenplays have been collected in two volumes of ''Agee on Film''. The issues related to ''The Night of the Hunter'' attracted controversy.

''Let Us Now Praise Famous Men'', ignored on its original publication in 1941, has been placed among the greatest literary works of the 20th century by the New York School of Journalism and the New York Public Library.

The composer Samuel Barber set sections of "Descriptions of Elysium" from ''Permit Me Voyage'' to music, creating a song of "Sure On This Shining Night." In addition, he set prose from the "Knoxville" section of ''A Death in the Family'' in his work for soprano and orchestra entitled ''Knoxville: Summer of 1915.''

University of Tennessee Libraries' Writer in Residence, RB Morris, wrote a one-man play adapted from the life and works of James Agee, ''The Man Who Lives Here is Loony'', which was performed during UT's "James Agee Celebration" in Spring 2005.

List of works

1934 ''Permit Me Voyage'', in the Yale Series of Younger Poets

1935 ''Knoxville: Summer of 1915'', prose poem later set to music by Samuel Barber.

1941 ''Let Us Now Praise Famous Men: Three Tenant Families'', Houghton Mifflin

1951 ''The Morning Watch'', Houghton Mifflin

1951 ''The African Queen'', screenplay from C. S. Forester novel

1952 ''Face to Face'' (''The Bride Comes to Yellow Sky'' segment), screenplay from Stephen Crane story

1954 ''The Night of the Hunter'', screenplay from Davis Grubb novel

1957 ''A Death in the Family'' (posthumous; stage adaptation: ''All the Way Home'')

1948 ''Agee on Film''

1952 ''Agee on Film II''

1962 ''Letters of James Agee to Father Flye''

1972 ''The Collected Short Prose of James Agee''

Published as

''Let Us Now Praise Famous Men, A Death in the Family, Shorter Fiction'' (Michael Sragow, ed.) (Library of America, 2005) ISBN 978-1-93108281-5. Stories include "Death in the Desert," "They That Sow in Sorrow Shall Reap" and "A Mother's Tale."

''Film Writing and Selected Journalism: Uncollected Film Writing, 'The Night of the Hunter', Journalism and Book Reviews'' (Michael Sragow, ed.) (Library of America, 2005) ISBN 978-1-93108282-2.

''Brooklyn Is: Southeast of the Island: Travel Notes'', (Jonathan Lethem, preface) (Fordham University Press, 2005) ISBN 978-0-82322492-0.

References

Further reading

''Letters of James Agee to Father Flye,'' ISBN 0877973016

James Agee, ''Let Us Now Praise Famous Men, etc.'', The Library of America, 159, with notes by Michael Sragow, 2005.

Alma Neuman, ''Always Straight Ahead: A Memoir'', Louisiana State University Press, 176 pages, 1993. ISBN 0-8071-1792-7.

Kenneth Seib, "James Agee: Promise and Fulfillment", in ''Critical Essays in Modern Literature'', University of Pittsburgh Press, 175 pages, 1968.

''Encyclopedia of the Documentary Film'', ed. Ian Aitken, London: Routledge, 2005

External links

James Agee, "A Mother's Tale", in ''The Collected Short Prose of James Agee'', ed. Robert Fitzgerald, Houghton Mifflin Co., 1968

A chronology of James Agee's life & work, Agee Films

James Agee Collections, University of Tennessee at Knoxville

James Agee Collection, Harry Ransom Humanities Research Center, University of Texas at Austin

Essay on Agee's Collected Work, ''The New Yorker''

Category:1909 births Category:1955 deaths Category:American film critics Category:American novelists Category:American poets Category:American screenwriters Category:Glascock Prize winners Category:Harvard University alumni Category:People from Knoxville, Tennessee Category:Phillips Exeter Academy alumni Category:Pulitzer Prize for Fiction winners Category:Writers from Tennessee

da:James Agee de:James Agee es:James Agee eu:James Agee fr:James Agee gl:James Agee it:James Agee la:Iacobus Agee nl:James Agee ja:ジェームズ・エイジー pl:James Agee pt:James Agee ru:Эйджи, Джеймс sk:James Agee fi:James Agee sv:James Agee

name	Walker Evans
birth date	November 03, 1903
birth place	St. Louis, Missouri, U.S.A.
death date	April 10, 1975
death place	New Haven, Connecticut, U.S.A. }}

:''For the off-road and NASCAR driver, see Walker Evans (racer).'' Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans's work from the FSA period uses the large-format, 8x10-inch camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent". Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as The Metropolitan Museum of Art or George Eastman House.

Biography

Born in St. Louis, Missouri, Walker Evans came from an affluent family. His father was an advertising director. He spent his youth in Toledo, Chicago, and New York City. He graduated from Phillips Academy, in Andover, Massachusetts, 1922. He studied French literature for a year at Williams College, spending much of his time in the school's library, before dropping out. After spending a year in Paris in 1926, he returned to the United States to join the edgy literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends. He was a clerk for a stockbroker firm in Wall street from 1927 to 1929.

Evans took up photography in 1928 around the time he was living in Ossining, NY. In 1930, he published three photographs (Brooklyn Bridge) in the poetry book ''The Bridge'' by Hart Crane. In 1931, he took photo series of Victorian houses in the Boston vicinity sponsored by Lincoln Kirstein. In 1933, he photographed in Cuba on assignment for the publisher of Carleton Beals' then-forthcoming book, ''The Crime of Cuba,'' photographing the revolt against the dictator Gerardo Machado. In Cuba, Evans briefly knew Ernest Hemingway.

In 1935, Evans spent two months at first on a fixed-term photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania. From October on, he continued to do photographic work for the RA and later the Farm Security Administration (FSA), primarily in the Southern United States.

In the summer of 1936, while still working for the FSA, he and writer James Agee were sent by ''Fortune'' magazine on assignment to Hale County, Alabama, for a story the magazine subsequently opted not to run. In 1941, Evans's photographs and Agee's text detailing the duo's stay with three white tenant families in southern Alabama during the Great Depression were published as the groundbreaking book ''Let Us Now Praise Famous Men.'' Its detailed account of three farming families paints a deeply moving portrait of rural poverty. Noting a similarity to the Beals' book, the critic Janet Malcolm, in her 1980 book ''Diana & Nikon: Essays on the Aesthetic of Photography'', has pointed out the contradiction between a kind of anguished dissonance in Agee's prose and the quiet, magisterial beauty of Evans's photographs of sharecroppers.

The three families headed by Bud Fields, Floyd Burroughs and Frank Tingle, lived in the Hale County town of Akron, Alabama, and the owners of the land on which the families worked told them that Evans and Agee were "Soviet agents," although Allie Mae Burroughs, Floyd's wife, recalled during later interviews her discounting that information. Evans's photographs of the families made them icons of Depression-Era misery and poverty. In September 2005, ''Fortune'' revisited Hale County and the descendants of the three families for its 75th anniversary issue. Charles Burroughs, who was four years old when Evans and Agee visited the family, was "still angry" at them for not even sending the family a copy of the book; the son of Floyd Burroughs was also reportedly angry because the family was "cast in a light that they couldn't do any better, that they were doomed, ignorant".

Evans continued to work for the FSA until 1938. That year, an exhibition, ''Walker Evans: American Photographs,'' was held at The Museum of Modern Art, New York. This was the first exhibition in this museum devoted to the work of a single photographer. The catalogue included an accompanying essay by Lincoln Kirstein, whom Evans had befriended in his early days in New York.

In 1938, Evans also took his first photographs in the New York subway with a camera hidden in his coat. These would be collected in book form in 1966 under the title ''Many are Called.'' In 1938 and 1939, Evans worked with and mentored Helen Levitt.

Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom making prints from his own negatives. He only very loosely supervised the making of prints of most of his photographs, sometimes only attaching handwritten notes to negatives with instructions on some aspect of the printing procedure. Evans was a passionate reader and writer, and in 1945 became a staff writer at ''Time'' magazine. Shortly afterward he became an editor at ''Fortune'' magazine through 1965. That year, he became a professor of photography on the faculty for Graphic Design at the Yale University School of Art (formerly the Yale School of Art and Architecture).

In one of his last photographic projects, Evans completed a black and white portfolio of Brown Brothers Harriman's offices and partners for publication in "Partners in Banking," published in 1968 to celebrate the private bank's 150th anniversary. In 1973 and 1974, he also shot a long series with the then-new Polaroid SX-70 camera, after age and poor health had made it difficult for him to work with elaborate equipment.

In 1971, the Museum of Modern Art staged a further exhibition of his work entitled simply ''Walker Evans''.

Evans died at his home in Old Lyme, Connecticut, in 1975.

In 1994, The Estate of Walker Evans handed over its holdings to New York City's The Metropolitan Museum of Art. The Metropolitan Museum of Art is the sole copyright holder for all works of art in all media by Walker Evans. The only exception is a group of approximately 1,000 negatives in collection of the Library of Congress which were produced for the Resettlement Administration (RA) / Farm Security Administration (FSA). Evan's RA / FSA works are in the public domain.

In 2000, Evans was inducted into the St. Louis Walk of Fame.

See also

Photojournalism

Footnotes

References

"Furniture Store Sign, Birmingham, Alabama"

Walker Evans Entry on the St. Louis Walk of Fame

Walker Evans exhibition in the argus fotokunst art gallery in Berlin.

Walker Evans or is It? Digital Reproductions

Further reading

James Crump (2010). ''Walker Evans: Decade by Decade.'' Hatje Cantz. ISBN 978-3-7757-2491-3

External links

Article and photographs regarding Walker Evans' time spent in Ossining, NY.

Biography of the artist Walker Evans from the J. Paul Getty Museum

Luminous-Lint page

Tod Papageorge on Walker Evans and Robert Frank

Category:1903 births Category:1975 deaths Category:American photographers Category:Guggenheim Fellows Category:American photojournalists Category:Portrait photographers Category:Social realist artists Category:Phillips Academy alumni Category:Williams College alumni Category:People from Old Lyme

cs:Walker Evans da:Walker Evans de:Walker Evans el:Γουόκερ Έβανς es:Walker Evans fr:Walker Evans gl:Walker Evans it:Walker Evans he:ווקר אוונס ja:ウォーカー・エバンス no:Walker Evans pt:Walker Evans ru:Эванс, Уолкер sv:Walker Evans

Name	Samuel Barber
Background	non_performing_personnel
Birth name	Samuel Osborne Barber II
Born	March 09, 1910West Chester, Pennsylvania, United States
Death date	January 23, 1981
Occupation	composer
Years active	}}

Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. His ''Adagio for Strings'' is his most popular composition and widely considered a masterpiece of modern classical music. He was twice awarded the Pulitzer Prize for music, for his opera ''Vanessa'' and his Concerto for Piano and Orchestra. His ''Knoxville: Summer of 1915'', a work for soprano and orchestra, was an acclaimed setting of prose by James Agee.

Biography

Early years

Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber. At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. At the age of nine he wrote to his mother:

He wrote his first musical at the early age of 7 and attempted to write his first opera at the age of 10. He was an organist at the age of 12. When he was 14, he entered the Curtis Institute in Philadelphia, where he studied piano, composition, and voice.

Barber was born into a comfortable, educated, social, and distinguished Irish-American family. His father was a physician, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera and his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs.

Barber began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti, who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publisher, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his Violin Sonata (now lost or destroyed by the composer).

Middle years

From his early to late twenties, Barber wrote a flurry of successful compositions, launching him into the spotlight of the classical music world. Many of his compositions were commissioned or first performed by such famous artists as Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. When Barber was 28, his ''Adagio for Strings'' was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938, along with his first ''Essay for Orchestra''. The Adagio had been arranged from the slow movement of Barber's String Quartet, Op. 11. Toscanini had only rarely performed music by American composers before (an exception was Howard Hanson's Second Symphony, which he conducted in 1933). At the end of the first rehearsal of the piece, Toscanini remarked, "Semplice e bella" (simple and beautiful).

Barber served in the Army Air Corps in World War II, where he was commissioned to write his Second Symphony, a work he later suppressed. (It was released in a "Vox" recording by the New Zealand Symphony Orchestra conducted by Andrew Schenck). Composed in 1943, the symphony was originally titled ''Symphony Dedicated to the Air Forces'' and was premiered in early 1944 by Serge Koussevitsky and the Boston Symphony Orchestra. Barber revised the symphony in 1947, which was published by G. Schirmer, and recorded the following year by the New Symphony Orchestra of London conducted by the composer, but Barber subsequently destroyed the score in 1964. It was reconstructed from the instrumental parts. According to another source, however, it was precisely the parts to the symphony that Barber had torn up. Hans Heinsheimer was an eyewitness, and reported that he accompanied Barber to the publisher's office where they collected all the music from the library and Barber "tore up all these beautifully and expensively copied materials with his own hands" Doubt has been cast on this story, however, on grounds that Heinsheimer, as an executive at G. Schirmer, would have allowed Barber into the Schirmer offices to watch him "rip apart the music that his company had invested money in publishing".

Barber won the Pulitzer Prize twice: in 1958 for his first opera ''Vanessa,'' and in 1963 for his Concerto for Piano and Orchestra.

Later years

Barber spent many years in isolation after the harsh rejection of his third opera ''Antony and Cleopatra''. He suffered from depression, and was also beset by alcoholism. The opera was written for and premiered at the opening of the new Metropolitan Opera House on September 16, 1966. After this setback, Barber continued to write music until he was almost 70 years old. Barber's music in his later years would be lauded as reflective and contemplative, but without the morbidity or unhappiness of other composers who knew they had a limited time to live. The ''Third Essay for Orchestra'' (1978) was his last major work.

Barber died of cancer in 1981 in New York City at the age of 70. He was buried in Oaklands Cemetery in his hometown of West Chester, Pennsylvania.

Achievements and awards

Barber was the recipient of numerous awards and prizes including the Rome Prize (the American version of the Prix de Rome), two Pulitzers, and election to the American Academy of Arts and Letters. He was elected a Fellow of the American Academy of Arts and Sciences in 1961.

Barber was initiated, as a full collegiate member, into the Zeta Iota chapter of Phi Mu Alpha Sinfonia music fraternity at Howard University in 1952.

In addition to composing, Barber was active in organizations that sought to help musicians and music. He was president of the International Music Council of UNESCO, where he did much to bring into focus and ameliorate the conditions of international musical problems. One of the first American composers to visit Russia (which was then a constituent republic of the Soviet Union), Barber was influential also in the successful campaign of composers against ASCAP, helping composers increase the share of royalties they receive from their compositions.

Music

Orchestral music

Barber played and studied the music of Johann Sebastian Bach and was an adherent of Johannes Brahms, from whom he learned how to compress profound emotions into small modules of highly charged musical expression (Cello Sonata, 1932).

In 1933, after reading the poem "Prometheus Unbound" by Percy Bysshe Shelley, Barber composed the tone poem ''Music for a Scene from Shelley'', Op. 7. In 1935, when the work was premiered at Carnegie Hall, it was the first time the composer heard one of his orchestral works performed publicly.

Barber's compositional style has been lauded for its musical logic, sense of architectural design, effortless melodic gift, and direct emotional appeal. This was evident in the Overture to ''The School for Scandal'' (1931) and ''Music for a Scene from Shelley'' (1933). These were characteristics of his music throughout his lifetime.

Through the success of his Overture to ''The School for Scandal'' (1931), ''Music for a Scene from Shelley'' (1933), ''Adagio for Strings'' (1938); (First) ''Symphony in One Movement'' (1936), (First) ''Essay for Orchestra'' (1937) and Violin Concerto (1939), Barber garnered performances by the world's leading conductors – Eugene Ormandy, Dimitri Mitropoulos, Bruno Walter, Charles Münch, George Szell, Artur Rodziński, Leopold Stokowski, and Thomas Schippers.

His compositions later included polytonality (Second Symphony, 1944); atonality (''Medea'', 1946, ''Prayers of Kierkegaard'', 1954); Twelve-tone technique (''Nocturne'', 1959 and the Piano Sonata, 1949); and jazz (''Excursions'', 1944; and ''A Hand of Bridge'', 1959).

Among his finest works are his four concertos, one each for Violin (1939), Cello (1945) and Piano (1962), and also the neoclassical ''Capricorn Concerto'' for flute, oboe, trumpet and string orchestra. All of these works are rewarding for the soloists and public alike, as all contain both highly virtuosic and beautiful writing, often simultaneously. The latter three have been unfairly neglected until recent years, when there has been a reawakening of interest in the expressive possibilities of these masterpieces.

Barber's final opus was the ''Canzonetta'' for oboe and string orchestra (1979/1981).

Piano

The four piano "bagatelles" ''Excursions'', Op. 20, (1942–44), was his first and only venture into Americana music. Its elements of boogie-woogie, blues, theme and variations on a cowboy song, and hoedown are not typical of Barber's generally more classical style. In 1949, Barber wrote his keyboard masterpiece Piano Sonata, which has maintained a prominent position in the concert repertoire since its premiere. The ''Nocturne for Piano (Homage to John Field),'' Op. 33, is another respected piece which he composed for the instrument.

Opera

Barber's life partner Gian Carlo Menotti, whom he had met at Curtis, supplied the libretto (text) for Barber's opera, ''Vanessa.'' Using his vocal training, in 1956 Barber played and sang the score to the Metropolitan Opera's General Manager, Rudolf Bing, who accepted the work. It premiered in January 1958. The title role was written for Sena Jurinac but she cancelled six weeks before the opening, to be replaced by Eleanor Steber, with whom the role has become closely identified. ''Vanessa'' won the 1958 Pulitzer Prize and gained acclaim as the first American grand opera.

Menotti also contributed the libretto for Barber's chamber opera ''A Hand of Bridge''. Barber's ''Antony and Cleopatra'' was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966. The elaborate production designed by Franco Zeffirelli was plagued with technical disasters; it also overwhelmed and obscured Barber's music, which most critics derided as uncharacteristically weak and unoriginal. The critical rejection of music that Barber considered to be among his best sent him into a deep depression. In recent years, a revised version of ''Antony and Cleopatra'', for which Menotti provided collaborative assistance, has enjoyed some success.

Vocal

Barber's background, deeply rooted in singing (including studies with Emilio de Gogorza), his love of poetry, and his intimate knowledge and appreciation of the human voice, inspired his vocal writing. Barber's most famous vocal compositions, ''Knoxville: Summer of 1915'' (to words by James Agee) and ''Dover Beach'' (to the poem by Matthew Arnold), were greatly successful. Their critical acclaim has made a powerful case for Barber as one of the twentieth century's most accomplished composers for the voice.

In honor of Barber's influence on American music, on October 19, 1974, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit. This award was established in 1964 "to bring a declaration of appreciation to an individual each year who has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."

In September 1992, soprano Cheryl Studer, baritone Thomas Hampson, the preeminent Samuel Barber pianist John Browning and the Emerson String Quartet recorded the complete songs of Samuel Barber (with the exception of ''Knoxville: Summer of 1915'') at the Brahms-Saal of the famous Musikverein in Vienna, Austria. The Deutsche Grammophon (catalogue 435 867–2) set has become a classic of American song on record.

Violin

In 1939 Philadelphia industrialist Samuel Simeon Fels commissioned Barber to write a violin concerto for Fels' ward, Iso Briselli, a graduate from the Curtis Institute of Music the same year as Barber, 1934. The Barber biographies written by Nathan Broder (1954) and Barbara B. Heyman (1992) discuss the genesis of the concerto during the period of the violin concerto's commission and subsequent year leading up to the first performance. Heyman interviewed Briselli and others familiar with the history in her publication. In late 2010, previously unpublished letters written by Fels, Barber, and Albert Meiff (Briselli's violin coach in that period) from the Samuel Simeon Fels Papers archived at the Historical Society of Pennsylvania became available to the public.

Notable compositions

For a full list of works with opus number and some without, see List of compositions by Samuel Barber

''Dover Beach'' (Medium Voice and String Quartet) (Op. 3, 1931)

''The School for Scandal'' (Overture) (Op. 5, 1931)

Cello Sonata (Op. 6, 1932)

''Music for a Scene from Shelley'' (Op. 7, 1933)

(First) ''Symphony in One Movement'' (Op. 9, 1936)

''Adagio for Strings'' (arr. of String Quartet, mov’t 2) (Op. 11, 1938)

''Essay for Orchestra'' (Op. 12, 1937)

Violin Concerto (Op. 14, 1939)

''Reincarnations'' for mixed chorus, (Op. 16, 1939–1940); words by Antoine Ó Raifteiri in translation by James Stephens

''Second Essay for Orchestra'' (Op. 17, 1942)

''Excursions'' (Op. 20, 1942–44)

''Capricorn Concerto'' (Op. 21, 1944)

Cello Concerto (Op. 22, 1945)

''Medea (Ballet)'' (Op. 23, 1946)

''Knoxville: Summer of 1915'' (Soprano & Orchestra) (Op. 24, 1948)

Sonata for Piano (Op. 26, 1949)

''Hermit Songs'' (Op. 29, 1953)

''Prayers of Kierkegaard'' (Soprano, Choir & Orchestra) (Op. 30, 1954)

''Summer Music for Wind Quintet'' (Op. 31, 1956)

''Vanessa'' (opera) (Op. 32, 1957)

''A Hand of Bridge'' (Chamber opera) (Op. 35, 1959)

''Toccata Festiva'' (Organ and Orchestra) (Op. 36, 1960)

Piano Concerto (Op. 38, 1962)

''Antony and Cleopatra'' (Op. 40, opera, 1966, rev. 1974)

Popular culture

''Adagio for Strings'' is a string-orchestra version of the slow movement from Barber's only string quartet. It was broadcast as part of a radio tribute following the death of US president, Franklin D. Roosevelt and at the funeral of Princess Grace of Monaco. It was used by French film composer, Georges Delerue, as part of his score, in the opening and various other passages of ''Platoon'' (1986), a film directed by Oliver Stone about the Vietnam War and in the film, ''Lorenzo's Oil'', starring Nick Nolte and Susan Sarandon. It is the soundtrack of the movie ''The Elephant Man'' (1980) directed by David Lynch. During its depiction of the final moments of Merrick's (The Elephant Man) life, the film uses "Adagio for Strings". It has also been remixed quite popularly by electronic dance artist DJ Tiesto and a choral version served as the theme to the real-time strategy game ''Homeworld''.

Notes

Reference and further reading

Broder, Nathan. 1954. ''Samuel Barber''. New York: G. Schirmer. Reprinted Westport, CT: Greenwood Press, 1985. ISBN 0313249849.

Heinsheimer, Hans W. 1968. "The Composing Composer: Samuel Barber". ''ASCAP Today'' 2:7.

Henahan, Donal. 1975. "Juilliard Rehabilitating 'Antony and Cleopatra'". ''New York Times'' (February 8).

Heyman, Barbara B. 1992. ''Samuel Barber: The Composer and His Music''. New York and Oxford: Oxford University Press. ISBN 978-0195090581.

Károlyi, Ottó. 1996. ''Modern American Music: From Charles Ives to the Minimalists''. London: Cygnus Arts; Madison [N.J.]: Fairleigh Dickinson University Press. ISBN 9780838637258 (cloth); ISBN 9781900541008 (pbk).

Lee, Douglas A. 2002. ''Masterworks of 20th-Century Music: The Modern Repertory Of The Symphony Orchestra''. New York: Routledge. ISBN 0-415-93846-5

Mostovoy, Marc. 2010. "Iso Briselli, Samuel Barber, and thbe Violin Concerto, op. 14: Facts and Fiction". Iso Briselli website. (Accessed December 6, 2010)

Schenck, Andrew. 1988. Booklet notes. ''Samuel Barber: Symphony No. 2; Music for a Scene from Shelley; Overture to The School for Scandal; First Essay; Adagio for Strings''. The New Zealand Symphony Orchestra, Andrew Schenck, cond. CD recording. Stradivari Classics SCD 8012. Hackensack, NJ: Special Music Company.

Simmons, Walter. 2004. ''Voices in the Wilderness: Six American Neo-Romantic Composers''. Lanham, Md.: Scarecrow Press. ISBN 0810848848. Paperback reprint edition, Lanham, Md.: Scarecrow Press, 2006. ISBN 0-8108-5728-6.

Smith, Patricia Juliana. 2002. "Barber, Samuel". ''glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture'', edited by Claude J. Summers. Chicago: glbtq, Inc.

Staubrand, Jens. 2009. ''Kierkegaard International Bibliography: Music Works and Plays: Appendix: About The Seducers Diary and the Illness and Death of Søren Kierkegaard'', new edition. Copenhagen: Eget Forlag; i kommission hos Forlaget Underskoven. ISBN 978 87 92259 91 2.

Valente, Erasmo. 1983. "A Spoleto rinasce Cleopatra". ''L’unità'' (June 27).

Wade, Graham. 2003. ''A Concise Guide to Understanding Music''. Pacific, MO: Mel Bay Publications. ISBN 9780786649815.

Warrack, John Hamilton, and Ewan West. 1992. ''The Oxford Dictionary of Opera''. Oxford and New York: Oxford University Press ISBN 0-19-869164-5

Wright, Jeffrey Marsh II. 2010. "The Enlisted Composer: Samuel Barber's Career 1942–1945". PhD diss. Chapel Hill: University of North Carolina at Chapel Hill.

External links

Biography

Heyman, Barbara B (1992). Samuel Barber: The Composer and His Music. New York: Oxford University Press. ISBN 0195090586

Wittke, Paul. Samuel Barber. G. Schirmer Inc.

Homepage of ''Capricorn'', the French Samuel Barber Society. (In English and French)

Article "Barber, A Composer Between Two Worlds", by the Capricorn Society on American Center France

Samuel Osborne Barber. IHAS. PBS.

Smith, Patricia. Barber, Samuel. glbtq.com

"Samuel Barber", ''Fyne Times''

Other

''Frédéric Chopin and Samuel Barber'' – ArtsEditor.com opinion article, 2010.

Audio and Video

Anne Akiko Meyers performs the Barber Violin Concerto

Cheryl Studer sings Samuel Barber in recital, November 27, 2003

Art of the States: Samuel Barber

Video of Erika's aria from ''Vanessa'', "Must the Winter Come So Soon?", sung by Mary Gayle Greene

In the BBC Discovering Music: Listening Library

Category:20th-century classical composers Category:American classical composers Category:Opera composers Category:Pulitzer Prize for Music winners Category:Guggenheim Fellows Category:LGBT musicians from the United States Category:1910 births Category:1981 deaths Category:Grammy Award winners Category:LGBT composers Category:Curtis Institute of Music alumni Category:Fellows of the American Academy of Arts and Sciences

an:Samuel Barber bg:Самюъл Барбър ca:Samuel Barber cs:Samuel Barber da:Samuel Barber de:Samuel Barber et:Samuel Barber es:Samuel Barber eu:Samuel Barber fa:ساموئل باربر fr:Samuel Barber fy:Samuel Barber hr:Samuel Barber id:Samuel Barber it:Samuel Barber he:סמואל בארבר ka:სემიუელ ბარბერი la:Samuel Barber nl:Samuel Barber ja:サミュエル・バーバー no:Samuel Barber pl:Samuel Barber pt:Samuel Barber ru:Барбер, Сэмюэл sl:Samuel Barber sh:Samuel Barber fi:Samuel Barber sv:Samuel Barber tl:Samuel Barber tr:Samuel Barber uk:Самюел Барбер zh:塞缪尔·巴伯

birth name	Humphrey DeForest Bogart
birth date	December 25, 1899
birth place	New York City, U.S.
death date	January 14, 1957
death place	Los Angeles, California, U.S.
death cause	Esophageal cancer
restingplace	Forest Lawn Memorial Park, Glendale, California
nationality	American
height
occupation	Actor
years active	1921–1956
education	Trinity School
alma mater	Phillips Academy
home town	New York City, New York
religion	Episcopalian
spouse	Helen Menken (1926–1927, divorced)Mary Philips (1928–1937, divorced)Mayo Methot (1938–1945, divorced)Lauren Bacall (1945–1957, his death)
children	Stephen Humphrey Bogart (January 6, 1949) Leslie Howard Bogart (August 23, 1952)
parents	Dr. Belmont DeForest Bogart,Maud Humphrey
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), ''In a Lonely Place'' (1950), ''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 December 25, 1899 in New York City, the eldest child of Dr. Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York City) and Maud Humphrey (1868–1940). Belmont and Maud married in June 1898. Bogart is a Dutch surname derived from “bogaard”, a short name for “boomgaard”, which means “orchard”. Bogart's father was a Presbyterian of English and Dutch descent; his mother was an Episcopalian of English descent. Bogart was raised in his mother's faith.

Bogart's birthday has been a subject of controversy; according to Warner Bros, he was born on Christmas Day, 1899. Others believe that this was a fiction created by the studio in order to romanticize their star, and that he was actually born on January 23, 1899. 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.

Bogart's father, Belmont, was a cardiopulmonary surgeon. 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). His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, "I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn’t glug over my two sisters and me." 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.

The Bogarts sent their son to private schools. Bogart 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 inappropriate comments made 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

With no viable 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.

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.

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. When actress Louise Brooks met Bogart in 1924, he had some scarred tissue on his upper lip, which Belmont Bogart may have partially repaired before Bogart went into films in 1930. She believes his scar had nothing to do with his distinctive speech pattern, his "lip wound gave him no speech impediment, either before or after it was mended. Over the years, Bogart practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film."

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 against 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”.

He spent a lot of his free time in speakeasies and became a heavy drinker. A barroom brawl during this time might have been the actual cause of Bogart's lip damage, as this coincides better with the Louise Brooks account.

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''

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''. Hopkins recalled:

When I saw the actor I was somewhat taken aback, for he was the one I never much admired. He was an antiquated juvenile who spent most of his stage life in white pants swinging a tennis racquet. He seemed as far from a cold-blooded killer as one could get, but the voice (dry and tired) persisted, and the voice was Mantee's.

The play had 197 performances at the Broadhurst Theatre in New York in 1935. Leslie Howard though, was the star. ''New York Times'' critic 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 play “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. Warner Bros. bought the screen rights to ''The Petrified Forest''. The studio was famous for its socially-realistic, urban, low-budget action pictures; the play seemed like the perfect property for it, especially since the public was entranced by real-life criminals like John Dillinger and Dutch Schultz. 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 under mysterious circumstances. 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.

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."

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 was 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 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''. He admired writers, and some of his best friends were screenwriters, including Louis Bromfield, Nathaniel Benchley and Nunnally Johnson. Bogart enjoyed intense, provocative conversation and stiff drinks, as did Huston. Both were rebellious and liked to play childish pranks. John Huston was reported to be easily bored during production, and admired Bogart (who also got bored easily off camera) not just for his acting talent but for his intense concentration on the set.

''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". Bogart, along with his many other landmark performances, could lay claim to having performed the quintessential cinema portayals of the two iconic protagonists of American hard boil detective literature, Hammett's Spade and later Raymond Chandler's Phillip Marlowe in "The Big Sleep" (1946).

''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 among 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.

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. She reportedly said later, "I kissed him but I never knew him." 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 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. 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." The film holds a rare niche in Hollywood history as having been completed and slated for release in 1945, then withdrawn and substantially re-edited with new, juiced up scenes added to better exploit the box office chemistry that shined between Bogie and Bacall in "To Have and Have Not" and the notoriety of their personal relationship. "After the public's response to Bacall's debut performance in "To Have and Have Not" at the urging of director Howard Hawks production partner Charles K. Feldman, scenes were re-written to heighten the "insolent' quality that had intrigued critics and audiences in that film." By chance, a 35 mm nitrate composite master positive (fine grain) of the 1945 version survived. The UCLA Film Archive, in association with Turner Entertainment and with funding provided by Hugh M. Hefner, the original film was restored and released in comparison with the 1946 version in 1996.

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. The dialogue, especially in the newly shot scenes, 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. Reportedly Chandler himself could not answer the question who killed the limousine driver in the story when the baffled screenwriters called him up for final reference.

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.

''The Treasure of the Sierra Madre''

Riding high in 1947 with a new contract which provided some script refusal rights and the right to form his own separate production company, Bogart reunited with John Huston for ''The Treasure of the Sierra Madre'', a stark tale of greed involving three gold prospectors played out in the dusty back country of Mexico. Absent any love story or a happy ending, it was deemed a risky project. 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 film ''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 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

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 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 radio series called ''Bold Venture'' with Lauren Bacall.

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."

Chess

Bogart was an excellent chess player, almost of master strength. Before he made any money from acting, he would hustle players for dimes and quarters, playing in New York parks and at Coney Island. The chess scenes in ''Casablanca'' had not been in the original script, but were put in at his insistence. A chess position from one of his correspondence games appears in the movie, although the image is a little blurred. He achieved a draw in a simultaneous exhibition given in 1955 at Beverly Hills by the famous chess Grandmaster Samuel Reshevsky and also played against George Koltanowski in San Francisco in 1952 (Koltanowski played blindfolded but still won in 41 moves).

Bogart was a member of the United States Chess Federation Board of Directors and active in the California State Chess Association, and a frequent visitor to the Hollywood chess club. The cover of the June–July 1945 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. 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 am at his home at 232 S 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 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 Lauren Bacall, before they married. In reference to their first movie together, it was inscribed: "If you want anything, just whistle."

Legacy and 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'".

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.

''Casablanca (film)Academy Award for Best ActorAcademy Award for Best Actor

+ Academy Awards
Year
	Academy Award for Best Actor>Best Actor	Casablanca'' || style="text-align: center;">Nominated
rowspan="1"	1951	Best Actor ||	The African Queen (film)>The African Queen''	Won
rowspan="1"	1954	Best Actor ||	The Caine Mutiny (film)>The Caine Mutiny''	Nominated

Postage stamp

In 1997, the United States Postal Service honored Bogart with a stamp bearing his image in its "Legends of Hollywood" series as the third figure to be recognized. At a formal ceremony attended by Lauren Bacall, and the Bogart children, Stephen and Leslie, Tirso del Junco, the chairman of the governing board of the USPS, provided an eloquent tribute:

“Today, we mark another chapter in the Bogart legacy. With an image that is small and yet as powerful as the ones he left in celluloid, we will begin today to bring his artistry, his power, his unique star quality, to the messages that travel the world.”

Plaque

On June 24, 2006, a section of 103rd Street between Broadway and Amsterdam Avenue was renamed "Humphrey Bogart Place". Lauren Bacall and her son Stephen Bogart were present at the commemorative event. "Bogie would never have believed it," Lauren Bacall expressed to the assembled group of city officials and onlookers in attendance.

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''

Bogart is also credited with one of the top movie misquotations. In ''Casablanca'', neither he (nor anyone else) ever said, "Play it again, Sam," although that "quote" is widely credited to him, and is the title of the Woody Allen tribute movie. When Ilsa (Ingrid Bergman), his former love, first enters the ''Café Americain'', she spots Sam, the piano player (Dooley Wilson) and asks him to "Play it once, Sam, for old times' sake." When he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By.'" Later that night, alone with Sam, Rick says, "You played it for her and you can play it for me," and "If she can stand it, I can! Play it!"

In popular culture

Humphrey Bogart's life has inspired writers and others:

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 out a fellow American who's down on his luck" – a line Bogart says a number of times in the film to John Huston, playing an American gringo.

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 No.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) was an homage to Bogart and starred Bogart lookalike Robert Sacchi. 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. The term also inspired a 1968 song ''Don't Bogart Me'' (also known as ''Don't Bogart That Joint'') by US band Fraternity of Man, which became popular in hippy culture through its inclusion in the soundtrack of the 1969 film Easy Rider.

Filmography

See also

Bogart-Bacall syndrome

References

Notes

Citations

Bibliography

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.

Kanfer, Stefan. ''Tough Without A Gun: The Life and Extraordinary Afterlife of Humphrey Bogart.'' New York: Knopf, 2011. ISBN 978-0307271006.

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.

Shickel, Richard. ''Bogie: A Celebration of the Life and Films of Humphrey Bogart.'' New York : Thomas Dunne Books/St. Martin's Press, 2006. ISBN 978-0312366292.

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

Humphrey Bogart's appearances in the 1900 US Census -- Version 1 and Version 2, in the 1905 NY Census, the 1910 US Census, and the 1920 US Census.

Category:1899 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 military personnel of World War I 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

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name	Katharine Hepburn
alt	Portrait of Hepburn, 33 years old
birth date	May 12, 1907
birth place	Hartford, Connecticut, U.S.
nationality	American
death date	June 29, 2003
death place	Fenwick, Old Saybrook, Connecticut, U.S.
occupation	Actress
years active	1928–1994
birth name
spouse	Ludlow Ogden Smith(1928–1934)
partner	Spencer Tracy(1941–1967, his death)
parents	Katharine Martha Houghton HepburnThomas Norval Hepburn }}

Katharine Houghton Hepburn (May 12, 1907June 29, 2003) was an American actress of film, stage, and television. In a career that spanned 62 years as a leading lady, she was best known for playing strong-willed, sophisticated women in both dramas and comedies.

Raised in Connecticut by wealthy, progressive parents, Hepburn turned to acting after graduating from Bryn Mawr College. After four years in the theatre, favorable reviews of her work on Broadway brought her to the attention of Hollywood. She became an instant star with her feature debut, 1932's ''A Bill of Divorcement'', and within 18 months received an Academy Award for ''Morning Glory''. This initial success was followed by a series of commercial failures, and in 1938 she was labeled "box office poison". Hepburn masterminded her own comeback, buying herself out of her contract with RKO Radio Pictures and acquiring the film rights to ''The Philadelphia Story'', which she sold on the condition that she be the star. The movie was a hit, and Hepburn's career was successfully revived.

In 1941 she joined Metro-Goldwyn-Mayer and began an alliance with Spencer Tracy, forming a popular partnership that produced nine movies over 25 years. Her work began to slow in this decade, and is dominated by the pictures she made with Tracy. Hepburn's output expanded in the 1950s, as she frequently worked overseas and appeared in a number of Shakespeare stage productions. On screen she found a niche in playing middle-aged spinsters, such as in ''The African Queen'', and the public embraced Hepburn in these roles. She enjoyed great success in the latter half of her life, winning three more Oscars for her work in ''Guess Who's Coming to Dinner'', ''The Lion in Winter'' and ''On Golden Pond''. In 1973 she made her first appearance in a television movie, for which she found her greatest success in her later years. She remained active into old age, making her final screen appearance in 1994 at the age of 87.

Hepburn was famously outspoken and evasive with the press, while refusing to conform to societal expectations of women. She married once, before moving to Hollywood, but thereafter maintained an independent lifestyle. In 1941, Hepburn began an affair with her co-star Spencer Tracy and became devoted to the actor. They remained together until his death in 1967, although the relationship was hidden from the public and Tracy never divorced his wife. After a period of inactivity and ill-health, Hepburn died in 2003 at the age of 96.

Hepburn received a total of 12 Academy Award nominations for Best Actress throughout her career, and her four wins is a record for a performer. Her on-screen persona often matched her own independent personality, and she came to epitomize the "modern woman" in 20th century America. Credited with helping change the way females were depicted on screen, she is acknowledged as an influential figure in the public's changing perception of women. In 1999, she was named by the American Film Institute as the top female legend of the screen.

Early life and career beginnings

Hepburn was born in Hartford, Connecticut on May 12, 1907, the second of six children. Her parents were Katharine Martha Houghton (1878–1951), a feminist who headed the Connecticut Woman Suffrage Association and later fought for birth control with Margaret Sanger, and Thomas Norval Hepburn (1879–1962), a urologist at Hartford Hospital. Katharine Martha instilled in her daughter the belief that women are equal to men, and the virtues of perseverance, independence and fortitude. As a child, Hepburn joined her mother on several "Votes For Women" demonstrations. Thomas Hepburn helped establish the New England Social Hygiene Association, which aimed to educate the public about venereal disease. The Hepburn children were raised to exercise freedom of speech, and encouraged to think and debate on any topic they wished. Her parents were criticized by the community for their progressive views, which biographer Charles Higham believes stimulated Hepburn to fight against barriers she encountered in life. Hepburn said she realized from a young age that she was the product of "two very remarkable parents", and credited her upbringing with providing the foundation for her success. She remained close to her family throughout her life.

The young Hepburn was a tomboy who liked to call herself Jimmy and cut her hair short like a boy's. Thomas Hepburn was eager for his children to use their minds and bodies to the limit, and taught them to swim, run, dive, ride, wrestle, and play golf and tennis. Golf became a passion for his oldest daughter: she took daily lessons and became very good, reaching the semi-final of the Connecticut Young Women's Golf Championship. She loved swimming in Long Island Sound, and took ice-cold baths every morning—generally believing that "the bitterer the medicine, the better it was for you." Hepburn was a fan of movies from a young age, and went to see one every Saturday night. With her friends and siblings, she would put on plays and perform to her neighbors for 50 cents a ticket to raise money for the Navajo people.

On April 3, 1921, while visiting friends in Greenwich Village, Hepburn discovered the body of her older brother Tom, whom she adored, dead from an apparent suicide. He had tied a sheet around a beam and hanged himself. The Hepburn family denied it was suicide and maintained that Tom's death must have been an experiment that had gone wrong. The incident made the teenage Hepburn nervous, moody and suspicious of people. She shied away from other children, dropped out of Oxford School, and began receiving private tutoring. For many years, she used Tom's birthday (November 8) as her own. It was not until her 1991 autobiography, ''Me: Stories of My Life,'' that Hepburn revealed her true birth date.

In 1924, Hepburn gained a place at Bryn Mawr College. She attended the institution primarily to satisfy her mother, who had studied there, and recalled disliking the experience. It was the first time she had been in school for several years, and she was self-conscious and uncomfortable with her classmates. She struggled with the scholastic demands of university, and was once suspended for smoking in her room. Hepburn was drawn to acting but roles in college plays were conditional on good grades. Once her marks had improved, she began performing regularly. The lead role in a production of ''The Woman in the Moon'' in her senior year, and the positive response it received, cemented Hepburn's plans to pursue a theatrical career. She graduated with a degree in history and philosophy in June 1928.

Breaking into theatre (1928–1932)

Hepburn left Bryn Mawr determined to become an actress. The day after graduating, she traveled to Baltimore to meet Edwin H. Knopf, who ran a successful stock theatre company. Impressed by her eagerness, Knopf cast Hepburn in his current production, ''The Czarina''. She received good notices for her small role, with the ''Printed Word'' describing her as "arresting." She was given a part in the following week's show, but here Hepburn was less accomplished. She was criticized for her shrill voice, and so left Baltimore to study with an acclaimed voice tutor in New York City.

Knopf decided to produce ''The Big Pond'' in New York and called for Hepburn to be the understudy to the leading lady. A week before opening, the lead was fired and replaced with Hepburn, which gave her a starring role after only four weeks in the theatre. On opening night, Hepburn turned up late, mixed her lines, tripped over her feet, and spoke too high and fast to be comprehensible. She was promptly fired, and the original leading lady rehired. Undeterred, Hepburn joined forces with producer Arthur Hopkins, and accepted the role of a schoolgirl in ''These Days''. Her Broadway debut came on November 12 1928, at the Cort Theatre, but reviews for the show were poor and it closed after eight nights. Hopkins promptly hired Hepburn as the lead understudy in Philip Barry's play ''Holiday''. In early December, after only two weeks, she quit to marry Ludlow Ogden Smith, her beau from college. She planned to leave the theatre behind, but began to miss the work and quickly resumed the understudy role in ''Holiday'', which she held for six months.

In 1929, Hepburn turned down a role with the Theatre Guild to play the lead in ''Death Takes a Holiday''. She felt the role was perfect, but again she was fired. Hepburn went back to the Guild and took an understudy role for minimum pay in ''A Month in the Country''. In the spring of 1930, Hepburn joined a stock company in Stockbridge, Massachusetts. She left half-way through the summer season, and continued studying with a drama tutor. In early 1931, she was cast in the Broadway production of ''Art and Mrs. Bottle''. She was released from the role after the playwright took a dislike to her, saying "She looks a fright, her manner is objectionable, and she has no talent", but then rehired when no other actress could be found. It went on to be a small success.

Hepburn appeared in a number of plays with a summer stock company in Ivoryton, Connecticut, and she proved to be a hit. During the summer of 1931, Philip Barry asked her to appear in his new play, ''The Animal Kingdom'', alongside Leslie Howard. They began rehearsals in November, Hepburn feeling sure this was the role to make her a star, but Howard disliked the actress and again she was fired. When asking Barry why this was, he responded: "Well, to be brutally frank, you weren't very good." This unsettled the self-assured Hepburn, but she continued to look for work. She took a small role in an upcoming play, but as rehearsals began she received an offer to read for the lead role in the Greek fable ''The Warrior's Husband''.

''The Warrior's Husband'' proved to be Hepburn's break-out performance. Higham states that it was ideal for the actress, requiring an aggressive energy and athleticism, and she enthusiastically involved herself with its production. It opened on March 11, 1932 at the Morosco Theatre on Broadway. Hepburn's stage entrance called for her to leap down a narrow stairway with a stag over her shoulder, wearing a short silver tunic. The show ran for three months, and Hepburn received positive reviews. Richard Garland of the ''New York World-Telegram'' wrote: "It's been many a night since so glowing a performance has brightened the Broadway scene."

RKO Radio Pictures

Instant success (1932–1934)

A scout for the Hollywood agent Leland Hayward spotted Hepburn's appearance in ''The Warrior's Husband'', and asked her to test for the part of Sydney Fairfield in the upcoming RKO film ''A Bill of Divorcement''. Hepburn was unhappy with her test scene, and sent material from ''Holiday'' instead. Director George Cukor was impressed by what he saw: "There was this odd creature," he recalled, "she was unlike anybody I'd ever heard." He particularly liked the manner in which she picked up a glass: "I thought she was very talented in that action." On being offered the role, Hepburn demanded $1,500 a week—a large amount for an unknown actress. Cukor encouraged the studio to accept her demands and they signed Hepburn to a temporary contract with a three week guarantee. RKO head David O. Selznick recounted that he took a "tremendous chance" in casting the unusual actress.

Hepburn arrived in California in July 1932, at 25 years old. She starred in ''A Bill of Divorcement'' opposite John Barrymore, showing no sign of intimidation. Although she struggled to adapt to the nature of film acting, Hepburn was fascinated by the industry from the start. The picture was a success and Hepburn received rave reviews. ''The New York Times'' described her performance as "exceptionally fine … Miss Hepburn's characterization is one of the finest seen on the screen". ''Variety'' wrote, "Standout here is the smash impression made by Katharine Hepburn in her first picture assignment. She has a vital something that sets her apart from the picture galaxy." On the strength of ''A Bill of Divorcement'', RKO signed the actress to a long-term contract. George Cukor became a lifetime friend and colleague and they proceeded to make a total of 10 films together.

Hepburn's second film was ''Christopher Strong'' (1933), the story of an aviatrix and her affair with a married man. The picture was not commercially successful, but Hepburn's personal reviews were good. Regina Crewe wrote in the ''Journal American'' that although her mannerisms were grating, "they compel attention, and they fascinate an audience. She is a distinct, definite, positive personality." Her third picture confirmed Hepburn as a major actress in Hollywood. For playing aspiring actress Eva Lovelace in ''Morning Glory'', she won an Academy Award for Best Actress. She had seen the script on the desk of producer Pandro S. Berman and, convinced that she was born to play the part, insisted that the role be hers. Hepburn chose not to attend the awards ceremony, a choice she would follow for the duration of her career, but was thrilled with the win. Her success continued with the role of Jo in the screen adaptation of ''Little Women'' (1933). The movie was a hit, one of the film industry's biggest successes to date, and Hepburn won the Best Actress prize at the Venice Film Festival. ''Little Women'' was one of Hepburn's personal favorites and she was proud of her performance, later saying "I defy anyone to be as good as I was [as Jo]".

By the end of 1933 Hepburn was at the top of her profession, but yearned to prove herself on Broadway. Jed Harris, one of the most successful theatre producers of the 1920s, was experiencing a slump in his career. He asked Hepburn to appear in the play ''The Lake'', which she agreed to do for a low salary. Before she was given leave, RKO asked that she film ''Spitfire'' (1934). Hepburn's role in the movie was Trigger Hicks, an uneducated mountain girl. It is widely considered one of her worst films, and Hepburn received poor reviews for the effort. Hepburn kept a picture of Hicks in her bedroom throughout her life to "[keep] me humble."

''The Lake'' previewed in Washington, D.C., at the end of 1933, where there was a large advance sale. Harris' poor direction had eroded Hepburn's confidence, and she struggled with the performance. Despite this, Harris moved the play to New York without further rehearsal. It opened at the Martin Beck Theatre on December 26, where Hepburn was slated by the critics. Dorothy Parker quipped, "Katharine Hepburn runs the gamut of emotions from A to B." Already tied to a ten-week contract, Hepburn had to endure the embarrassment of rapidly declining box office sales. Harris decided to take the show to Chicago, saying to Hepburn, "My dear, the only interest I have in you is the money I can make out of you." Hepburn refused, and paid Harris $14,000 to close the production instead. She later referred to Harris as "hands-down the most diabolical person I have ever met", and claimed this experience was important in teaching her to take responsibility for her career.

Career struggles, "box office poison" (1934–1938)

After the failure of ''Spitfire'' and ''The Lake'', RKO cast Hepburn in ''The Little Minister'' (1934), based on a Victorian novel by James Barrie, in an attempt to repeat the success of ''Little Women''. This failed to materialize, and the picture was a commercial failure. The romantic drama ''Break of Hearts'' (1935) then garnered Hepburn her worst reviews to date, and fared poorly at the box office. After three forgettable movies, success returned to Hepburn with ''Alice Adams'' (1935), the story of a girl's desperation to climb the social ladder. Hepburn loved the book and was delighted to be offered the role. The picture was a hit, one of Hepburn's personal favorites, and gave the actress her second Oscar nomination.

Berman allowed Hepburn to select her next feature. She chose George Cukor's new project, ''Sylvia Scarlett'' (1935), which paired her for the first time with Cary Grant. Her hair was cut short for the part, as her character masquerades as a boy for much of the film. Critics disliked ''Sylvia Scarlett'' and it was unpopular with the public. For her next film she played Mary Stuart in John Ford's ''Mary of Scotland'' (1936). It met with a similarly poor reception. ''A Woman Rebels'' (1937) followed, a Victorian era drama where Hepburn's character fights against convention. ''Quality Street'' (1937) also had a period setting, this time a comedy. Neither movie was popular with the public, which meant she had made four unsuccessful pictures in a row.

Alongside a series of unpopular films, problems arose from Hepburn's attitude. She had a difficult relationship with the press, with whom she could be rude and provocative. When asked if she had any children, she snapped back "Yes I have five: two white and three colored." She would not give interviews and denied requests for autographs, which earned her the nickname "Katharine of Arrogance". The public were also baffled by her boyish behavior and fashion choices, and she became a largely unpopular figure. Hepburn sensed that she needed to leave Hollywood, so returned east to star in a theatrical adaptation of ''Jane Eyre''. It had a successful tour, but feeling uncertain with the script and unwilling to risk failure after the disaster of ''The Lake'', Hepburn decided against taking the show to Broadway. Towards the end of 1936, Hepburn vied for the role of Scarlett O'Hara in ''Gone With The Wind''. Producer David O. Selznick refused to offer her the part because he felt she had no sex appeal. He reportedly told Hepburn, "I can't see Rhett Butler chasing you for twelve years."

For her next feature, ''Stage Door'' (1937) paired Hepburn with Ginger Rogers in a role that mirrored her own life—that of a wealthy society girl trying to make it as an actress. Hepburn was praised for her work at early previews, which gave her top-billing over Rogers, and the film was nominated for Best Picture at the Academy Awards. But it was not the box office hit RKO had hoped. Industry pundits blamed Hepburn for the small profit, but the studio continued its commitment to resurrecting the actress' popularity. She was cast in Howard Hawks' screwball comedy ''Bringing Up Baby'' (1938) alongside Cary Grant. Hepburn played the physical comedy of the film with confidence, and took tips on comedic timing from her co-star Walter Catlett. ''Bringing Up Baby'' was acclaimed by critics, but it was nevertheless unsuccessful at the box office. With the genre and Grant both hugely popular at the time, biographer A. Scott Berg believes the blame lay with Hepburn.

''Bringing Up Baby'' was the last picture Hepburn did at RKO. After its release, the Independent Theatre Owners of America included Hepburn on a list of actors considered "Box Office Poison". The next film offered to her was ''Mother Carey's Chickens'', a "B Movie" with poor prospects. Hepburn turned it down, and instead opted to buy herself out of her contract for $75,000. Many actors of the time were afraid to leave the stability of the studio system, but Hepburn's personal wealth meant she could afford to be independent. She signed on for the film version of ''Holiday'' (1938) with Columbia Pictures, pairing her for the third time with Grant. The comedy was well received by critics, but it was too late to compensate for the previous flops and overcome the negative publicity. ''Holiday'' failed to be a hit, and the next script offered to Hepburn came with a salary of $10,000—less than she had been receiving at the start of her film career. Reflecting on this change in fortunes, Andrew Britton writes of Hepburn: "No other star has emerged with greater rapidity or with more ecstatic acclaim. No other star, either, has become so unpopular so quickly for so long a time."

Metro-Goldwyn-Mayer

Revival (1939–1942)

Following this decline in her career, Hepburn took action to create her own comeback vehicle. She left Hollywood to look for a stage project, and signed on to star in Philip Barry's new play, ''The Philadelphia Story''. It was tailored to showcase the actress, with the character of socialite Tracy Lord incorporating a mixture of humor, aggression, nervousness and vulnerability. Howard Hughes, Hepburn's beau at the time, sensed that the play could be her ticket back to Hollywood stardom, and bought her the film rights before it had opened. The pair also contributed a quarter of the play's production costs. ''The Philadelphia Story'' first toured the United States, to positive reviews, and then opened in New York at the Schubert Theatre on March 29, 1939. It was a big hit, critically and financially, running for 417 performances and then going on a second successful tour.

All the major film studios approached Hepburn to produce the movie version of Barry's play. She chose to sell the rights to Metro-Goldwyn-Mayer (MGM), Hollywood's number one studio, on the condition that she be the star. As part of the deal she also received the director of her choice, George Cukor, but the co-stars she wanted, Clark Gable and Spencer Tracy, were both unavailable. Louis B. Mayer promised her James Stewart and $150,000 "for anyone else you want or can get." Hepburn chose her friend and previous co-star, Cary Grant—to whom she ceded top billing. Before filming began, Hepburn shrewdly noted, "I don't want to make a grand entrance in this picture. Moviegoers ... think I'm too la-di-da or something. A lot of people want to see me fall flat on my face." Thus the film began with the actress being knocked flat onto her backside by Cary Grant. The movie also came with the highest production values available, including gowns by top designer Adrian that made Hepburn look more glamorous than ever before. Berg claims the effect was to "recreate Katharine Hepburn" in the eyes of her audience. The resulting film was one of the biggest hits of 1940, breaking records at the Radio City Music Hall. In its review, ''Time'' wrote: "Come on back, Katie, all is forgiven." Herb Golden of ''Variety'' stated: "It's Katharine Hepburn's picture ... The perfect conception of all flighty but characterful Main Line socialite gals rolled into one, the story without her is almost inconceivable." Hepburn was nominated for her third Academy Award for Best Actress, and won the New York Film Critics Circle Award for Best Actress.

Hepburn was also responsible for the development of her next project, the romantic comedy ''Woman of the Year''. The idea for the film was proposed to her by Garson Kanin in 1941. Hepburn passed the outline onto Joseph L. Mankiewicz at MGM, who expressed an interest in the picture. Kanin recalled how Hepburn contributed to the script: reading it, suggesting cuts and word changes, and generally providing helpful enthusiasm for the project. Hepburn presented the finished product to MGM and demanded $250,000—half for her, half for the authors, Michael Kanin and Ring Lardner, Jr. With her terms accepted, Hepburn was also given the director and co-star of her choice, George Stevens and Spencer Tracy. Released in 1942, ''Woman of the Year'' was another success. Critics praised the chemistry between the stars and, says Higham, noted Hepburn's "increasing maturity and polish". The ''World-Telegram'' commended two "brilliant performances", and Hepburn received a fourth Academy Award nomination for her role as independent career-woman Tess Harding. During the course of the movie, Hepburn signed a star contract with MGM.

Slowing in the 1940s (1942–1949)

In 1942, Hepburn returned to Broadway to appear in another Philip Barry play, ''Without Love'', which was also written with the actress in mind. Critics were unenthusiastic about the production but with Hepburn's popularity at a high it ran for 16 sold-out weeks. MGM were eager to reunite Tracy and Hepburn for a new picture, and settled on ''Keeper of the Flame'' (1942). A dark mystery with a propaganda message on the dangers of fascism, Hepburn saw it as an opportunity to make a worthy political statement. It received poor notices but was a financial success, confirming the popularity of the Tracy-Hepburn pairing.

Since ''Woman of the Year'' Hepburn had committed to a romantic relationship with Tracy and dedicated herself to helping the star—who suffered from alcoholism and insomnia. Her career slowed as a result, and she worked less for the remainder of the decade than she had done in the 1930s—notably by not appearing on-stage again until 1950. Her only appearance in 1943 was a cameo in the morale-building wartime film ''Stage Door Canteen'', playing herself. She took an atypical role in 1944, playing a Chinese peasant in the high-budget drama ''Dragon Seed''. Hepburn was enthusiastic about the film, but it met with a tepid response and she was described as miscast. She then reunited with Tracy for the film version of ''Without Love'' (1945), after which she turned down a role in ''The Razor's Edge'' to support Tracy through his return to Broadway. ''Without Love'' received poor reviews, but a new Tracy-Hepburn picture was a big event and it was popular on release, selling a record number of tickets over Easter weekend 1945.

Hepburn's next film was ''Undercurrent'' (1946), a film noir with Robert Taylor and Robert Mitchum that was poorly received. A fourth film with Tracy came in 1947: a drama set in the American Old West entitled ''The Sea of Grass''. Similarly to ''Keeper of the Flame'' and ''Without Love'', a lukewarm response from critics did not stop it from being a financial success both at home and abroad. The same year, Hepburn portrayed Clara Wieck Schumann in ''Song of Love''. She trained intensively with a pianist for the role. By the time of its release in October, Hepburn's career had been significantly affected by her public opposition to the anti-communist witch-hunt occurring in Hollywood. Viewed by the public as dangerously progressive, she was not offered work for nine months and people were reportedly throwing things at screen showings of ''Song of Love''. Her next film role came unintentionally, as she stepped in to replace Claudette Colbert only days before shooting began in Frank Capra's political drama ''State of the Union'' (1948). Tracy had long been signed to play the male lead, and so Hepburn was already familiar with the script and stepped up for the fifth Tracy-Hepburn picture. Critics responded positively to the film and it performed well at the box office.

Tracy and Hepburn appeared on screen together for a third consecutive year in the 1949 film ''Adam's Rib''. Like ''Woman of the Year'', it was a "battle of the sexes" comedy, and was written specifically for the duo by their friends Garson Kanin and Ruth Gordon. A story of married lawyers who oppose each other in court, Hepburn described it as "perfect for [Tracy] and me". She was instrumental in getting Judy Holliday cast in the film, which kick-started the young actress's Hollywood career. Although Hepburn was still unpopular due to her political views, with scattered picketing at theatres around the country, ''Adam's Rib'' was a hit, favorably reviewed and the most profitable Tracy-Hepburn picture to date. Critic Bosley Crowther was full of praise for the film, and noted the duo's "perfect compatibility".

Professional expansion (1950–1952)

The 1950s saw Hepburn take on a series of professional challenges, and stretch herself further than at any other point in her life at an age when most actresses began to retreat. Berg describes the decade as "the heart of her vast legacy" and "the period in which she truly came into her own." In January 1950, Hepburn made her first venture into Shakespeare, playing Rosalind in ''As You Like It''. She hoped to prove she could play already established material, and said "It's better to try something difficult and flop than to play it safe all the time." It opened at the Cort Theatre in New York to a capacity audience, and continued to be virtually sold out for 148 shows. The production then went on tour. Reviews for Hepburn varied, but she was noted as the only leading-lady in Hollywood who was performing high-caliber material on the stage.

In 1951, Hepburn filmed ''The African Queen'', her first movie in Technicolor. She played Rose Sayer, a prim spinster missionary living in German East Africa at the outbreak of World War I. Co-starring Humphrey Bogart, ''The African Queen'' was shot mostly on location in the Belgian Congo—an opportunity Hepburn embraced. It proved a difficult experience, however, and Hepburn became ill with dysentery during filming. Later in life, she released a memoir about the experience. The movie was released at the end of 1951 to popular support and critical acclaim, and gave Hepburn her fifth Best Actress nomination at the Academy Awards. It proved that she could be a hit without Spencer Tracy, being the first successful film she had made without him since ''The Philadelphia Story'' a decade earlier, and fully re-established her popularity.

Hepburn went on to make the sports comedy ''Pat and Mike'' (1952), a second film written specifically as a Tracy-Hepburn vehicle by Kanin and Gordon. Hepburn was a keen athlete, and Kanin later described this as his inspiration for the film: "As I watched Kate playing tennis one day ... it occurred to me that her audience was missing a treat." Hepburn was asked to gain weight for the role, and she was under pressure to perform several sports to a high standard, many of which did not end up in the film. ''Pat and Mike'' was one of the team's most popular and critically acclaimed films, and it was also Hepburn's personal favorite of the nine films she made with Tracy. The performance brought a nomination for the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy.

In the summer of 1952, Hepburn appeared in London's West End for a ten-week run of George Bernard Shaw's ''The Millionairess''. Her parents had read Shaw to her when she was a child, which made the play a special experience for the actress. Two years of intense work had left her exhausted, however, and her friend Constance Collier wrote that Hepburn was "on the verge of a nervous breakdown". ''The Millionairess'' was widely acclaimed, and brought to Broadway. It opened at the Shubert Theatre in October 1952, where the response by critics was lukewarm but it sold out for the ten-week run. Hepburn subsequently tried to get the play adapted into a film: a script was written by Preston Sturges, Hepburn offered to work for nothing and pay the director herself, but the project was not picked up by any studio. She later referred to this as the biggest disappointment of her career.

Independent star

Spinsters and Shakespeare (1953–1962)

''Pat and Mike'' was the last film Hepburn completed on her MGM contract, making her free to select her own projects. She spent two years resting and traveling, before committing to David Lean's romantic drama ''Summertime'' (1955). The movie was filmed in Venice, with Hepburn playing a lonely spinster who has a passionate love affair. She described it as "a very emotional part" and found it fascinating to work with Lean. At her own insistence, Hepburn performed a fall into a canal and developed a chronic eye infection as a result. The role earned her another Academy Award nomination and has been cited as some of her finest work. Lean later said it was his personal favorite of the films he made, and Hepburn his favorite actress. The following year, Hepburn spent six months touring Australia with the Old Vic theatre company, playing Portia in ''The Merchant of Venice'', Kate in ''The Taming of the Shrew'' and Isabella in ''Measure for Measure''. The tour was successful and Hepburn earned significant plaudits for the effort.

Hepburn received an Academy Award nomination for the second year running for her work opposite Burt Lancaster in ''The Rainmaker'' (1956). Again she played a lonely women empowered by a love affair, and it seemed that Hepburn had found a niche in playing love-starved spinsters that critics, audiences and her peers clearly enjoyed. Hepburn said of playing such roles, "With Lizzie Curry [''The Rainmaker''] and Jane Hudson [''Summertime''] and Rosie Sayer [''The African Queen''] – I was playing me. It wasn't difficult for me to play those women, because I'm the maiden aunt." Less success that year came from ''The Iron Petticoat'' (1956), a reworking of the classic comedy ''Ninotchka'', with Bob Hope. Hepburn played a cold-hearted Soviet pilot, a performance which Bosley Crowther called "horrible". It was a critical and commercial failure, and Hepburn considered it the worst film on her resume.

Tracy and Hepburn reunited on screen for the first time in five years for the office-based comedy ''Desk Set'' (1957). Berg notes that it worked as a hybrid of their earlier romantic-comedy successes and Hepburn's spinster persona, but it performed poorly at the box office. That summer Hepburn returned to Shakespeare. Appearing in Stratford, Connecticut, at the American Shakespeare Theatre, she repeated her Portia in ''The Merchant of Venice'' and played Beatrice in ''Much Ado About Nothing''. The shows were positively received. After two years away from the screen, she starred in a film adaptation of Tennessee Williams' controversial play ''Suddenly, Last Summer'' (1959) with Elizabeth Taylor and Montgomery Clift. The movie was shot in London, and was "a completely miserable experience" for Hepburn. She clashed with director Joseph L. Mankiewicz during filming, which culminated with her spitting at him in disgust. The picture was a financial success, and her work as creepy aunt Violet Venable gave Hepburn her eighth Oscar nomination. Williams was pleased with the performance, writing, "Kate is a playwright's dream actress. She makes dialogue sound better than it is by a matchless beauty and clarity of diction". He wrote ''The Night of the Iguana'' (1961) with Hepburn in mind, but the actress, although flattered, felt the play was wrong for her and declined the part, which went to Bette Davis.

Hepburn returned to Stratford in the summer of 1960 to play Viola in ''Twelfth Night'' and Cleopatra in ''Antony and Cleopatra''. The ''New York Post'' wrote of her Cleopatra: "Hepburn offers a highly versatile performance ... once or twice going in for her famous mannerisms and always being fascinating to watch." Hepburn herself was proud of the role. Her repertoire was further improved when she appeared in Sidney Lumet's film version of Eugene O'Neill's ''Long Day's Journey Into Night'' (1962). It was a low-budget production, and Hepburn appeared in the film for a tenth of her established salary. She called it "the greatest [play] this country has ever produced", the role of morphine-addicted Mary Tyrone "the most challenging female role in American drama" and felt her performance was the best screen work of her career. ''Long Day's Journey Into Night'' earned Hepburn an Oscar nomination and the Best Actress Award at that year's Cannes Film Festival. It remains one of her most praised performances.

Success in later years (1963–1970)

Following completion of ''Long Day's Journey Into Night'', Hepburn took a break in her career to care for the ailing Spencer Tracy. She did not work again until 1967's ''Guess Who's Coming To Dinner'', a ninth film with Tracy. The movie dealt with the subject of interracial marriage, with Hepburn's niece, Katharine Houghton, playing her daughter. Tracy was a dying man by this point, suffering the effects of heart disease, and Houghton later commented that her aunt was "extremely tense" during the production. Tracy died 17 days after filming his last scene. ''Guess Who's Coming to Dinner'' was a triumphant return for Hepburn, her most commercially successful picture to date, and she won her second Best Actress Award at the Oscars, 34 years after winning her first. Hepburn felt the award was not just for her, but was also given to honor Tracy. She claimed that she had never watched the film as it would be too painful.

Hepburn quickly returned to acting after Tracy's death, chosing to preoccupy herself as a remedy against grief. She received numerous scripts and chose to play Eleanor of Aquitaine in ''The Lion In Winter'' (1968), a part she called "fascinating". She read extensively in preparation for the role, where she starred opposite Peter O'Toole. It was filmed in Montmajour Abbey in the south of France, an experience she loved despite being—according to director Anthony Harvey—"enormously vulnerable" throughout. John Russell Taylor of ''The Times'' suggested that Eleanor was "the performance of her (Hepburn's) career", and proved that she was "a growing, developing, still surprising actress". The movie was nominated in all the major categories at the Academy Awards, and for the second year running Hepburn won the Oscar for Best Actress. The role, combined with ''Guess Who's Coming to Dinner'', also won Hepburn a British Academy Film Award (BAFTA) for Best Actress. Hepburn's next appearance was in ''The Madwoman of Chaillot'' (1969), which she filmed in Nice immediately after completing ''The Lion in Winter''. Unlike her previous hits the picture was a failure critically and financially, and reviews targeted Hepburn for giving a misguided performance.

From December 1969 to August 1970, Hepburn starred in the Broadway musical ''Coco'', about the life of Coco Chanel. Hepburn admitted that before the show, she had never sat through a theatrical musical. She was not a strong singer, but found the offer irresistible and, as said by Berg, "what she lacked in euphony she made up for in guts". The actress took vocal lessons six times a week in preparation for the show. She was nervous about every performance, and recalled "wondering what the hell I was doing there." Reviews for the production were mediocre, but Hepburn herself was praised and ''Coco'' was popular with the public. Hepburn would typically receive a standing ovation at the end of the night, and the show's run was twice extended. She later said ''Coco'' marked the first time she accepted that the public were not against her, but actually seemed to love her. The work earned Hepburn a Tony Award nomination for Best Actress in a Musical.

Film, television and theatre (1971–1983)

Hepburn stayed active throughout the 1970s, focusing on roles described by Andrew Britton as "either a devouring mother or a batty old lady living [alone]". First she traveled to Spain to film a version of Euripides' ''The Trojan Women'' (1971) alongside Vanessa Redgrave. When asked why she had taken the role, she responded that she wanted to broaden her range and try everything while she still had time. The movie was poorly received, but the Kansas City Film Critics named Hepburn's performance the best from an actress that year. In 1971 she signed on to star in an adaptation of Graham Greene's ''Travels With My Aunt'', but was unhappy with early versions of the script and took to rewriting it herself. The studio disliked her changes, so Hepburn abandoned the project and was replaced with Maggie Smith.

Hepburn's next film, an adaptation of Edward Albee's ''A Delicate Balance'' (1973) directed by Tony Richardson, had a small release and received generally unfavorable reviews. She then ventured into television for the first time, appearing in a television movie of Tennessee Williams' ''The Glass Menagerie''. Hepburn had been wary of entering into the medium but it proved to be one of the main television events of 1973, scoring high on the Nielsen ratings. Hepburn received an Emmy Award nomination for playing wistful Southern mother Amanda Wingfield, which opened her mind to future work in the medium. Her next project was the television movie ''Love Among the Ruins'' (1975), a London-based Edwardian drama with Laurence Olivier. It was a great success, with positive reviews and high ratings, and earned Hepburn her only Emmy Award.

Hepburn made her only appearance at the Academy Awards in 1974, to present the Irving G. Thalberg Memorial Award to Lawrence Weingarten. She received a standing ovation, and joked with the audience, "I'm very happy I didn't hear anyone call out 'It's about time'." The following year, she was paired with John Wayne in the Western ''Rooster Cogburn'', a sequel to his Oscar-winning film ''True Grit''. Hepburn's role replicated Rose Sayer from ''The African Queen'', again playing a deeply religious spinster who teams up with a masculine loner to avenge a family member's death. The movie received mediocre reviews. Its casting was enough to draw some people to the box office, but not as many as anticipated and it was only moderately successful.

In 1976, Hepburn returned to Broadway for a three-month run of ''A Matter of Gravity''. The role of eccentric Mrs. Basil was deemed a perfect showcase for the actress, and the play was popular despite poor reviews. It later went on a successful nationwide tour. During the Los Angeles run of the production, Hepburn fractured her hip. She chose to continue the tour performing in a wheelchair. That year, she was voted "Favorite Motion Picture Actress" by the People's Choice Awards. After three years away from the screen, Hepburn starred in the 1978 film ''Olly Olly Oxen Free''. The adventure comedy was one of the biggest failures of her career, as it was quickly removed from theatres and did not receive an international release. She later said the main reason she had done the film was the opportunity to ride in a hot air balloon. The television movie ''The Corn Is Green'' (1979), which was filmed in Wales, followed. It was the last of ten films Hepburn made with George Cukor, and gained her a third Emmy nomination.

By the 1980s Hepburn had developed a noticeable tremor, giving her a permanently shaking head. She did not work for two years, saying in a television interview "I've had my day—let the kids scramble and sweat it out." During this period she saw the Broadway production of ''On Golden Pond'', and was impressed by its depiction of an elderly married couple coping with the difficulties of old age. Jane Fonda had purchased the screen rights for her father, the actor Henry Fonda, and Hepburn sought to play opposite him in the role of quirky Ethel Thayer. ''On Golden Pond'' was a successful outing, as it became the second-highest grossing film of 1981. 74-year-old Hepburn was noted for how energetic she still was, as she dived fully clothed into Squam Lake and gave a lively singing performance. The movie won Hepburn a second BAFTA and a record fourth Academy Award. Homer Dickens, in his book on Hepburn, notes that it was widely considered a sentimental win; a tribute to her enduring career.

1981 also saw Hepburn return to the stage, and she received a second Tony nomination for her work in ''The West Side Waltz''. Playing a septuagenarian widow with a zest for life, ''Variety'' observed that the role was "an obvious and entirely acceptable version of [Hepburn's] own public image." Walter Kerr of ''The New York Times'' wrote of Hepburn and her performance: "One mysterious thing she has learned to do is breathe unchallengeable life into lifeless lines." She hoped to make a film out of the production, but nobody purchased the rights. Hepburn's reputation as one of America's best loved actors was firmly established by this point, as she was named favorite movie actress in a survey by ''People'' magazine and again won the popularity award from People's Choice.

Focus on television (1984–1994)

In 1984, Hepburn starred in the dark comedy ''Grace Quigley'', the story of an elderly woman who enlists a hitman (Nick Nolte) to kill her. Hepburn found humor in the morbid theme, but reviews were negative and it received a small audience. In 1985, she presented a television documentary about the life and career of Spencer Tracy. The majority of Hepburn's roles from this point were in television movies, which did not receive the critical praise of her earlier work in the medium but remained popular with audiences. With each release, Hepburn would declare it her final screen appearance, but she continued to take on new roles. She received an Emmy nomination for 1986's ''Mrs. Delafield Wants to Marry'', then two years later returned for the comedy ''Laura Lansing Slept Here'', which allowed Hepburn to act with her grandniece, Schuyler Grant. In 1991 she released her autobiography, ''Me: Stories of my Life''. It topped best-seller lists for over a year. She returned to television screens in 1992 for ''The Man Upstairs'', co-starring Ryan O'Neal, for which she received a Golden Globe nomination. In 1994 she worked opposite Anthony Quinn in ''This Can't Be Love'', which was largely based on Hepburn's own life, with numerous references to her personality and career. These later roles have been described as "a fictional version of the typically feisty Kate Hepburn character" and critics have remarked that Hepburn was essentially playing herself.

Hepburn's final appearance in a theatrically released film, and her first since ''Grace Quigley'' ten years earlier, was ''Love Affair'' (1994). At 86 years old, she played a supporting role alongside Annette Bening and Warren Beatty. It was the only film of Hepburn's career, other than the cameo appearance in ''Stage Door Canteen'', in which she did not play a leading role. Roger Ebert noted that it was the first time Hepburn had looked frail, but that the "magnificent spirit" was still there and said her scenes "steal the show". ''The New York Times'' made similar observations as they reflected on the actress' final big-screen appearance, stating that "if she moved more slowly than before, in demeanor she was as game and modern as she had ever been". Hepburn filmed one final role in the television movie ''One Christmas'' (1994), for which she received a Screen Actors Guild Award nomination at 87 years old.

Personal life

Public image and character

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Known for being fiercely private, Hepburn would not give interviews or talk to fans for much of her career. Her life, she felt, was no-one else's business. She distanced herself from the celebrity lifestyle—being uninterested in a social scene she saw as tedious and superficial —and wore casual clothes that went strongly against convention in an era of glamour. She rarely appeared in public, even avoiding restaurants, and once wrestled a camera out of a photographer's hand when he took a picture without asking. Despite this she enjoyed the fame, and confessed that she would not have liked the press to ignore her completely. The protective attitude thawed as she aged; beginning with a two-hour long interview on ''The Dick Cavett Show'' in 1973, Hepburn became increasingly open with the public.

Hepburn led an active private life, reportedly swimming and playing tennis every morning. In her eighties she was still playing tennis regularly, as indicated in her 1993 documentary ''All About Me''. She also filled her time painting, which became a passion later in life. A small bust she sculpted of Spencer Tracy's head was featured in ''Guess Who's Coming To Dinner''. Hepburn's relentless energy and enthusiasm for life is often cited in biographies, while a headstrong independence became key to her celebrity status. This self-assuredness meant she could be controlling and difficult; her friend Garson Kanin likened her to a schoolmistress, and she was famously blunt and outspoken. Katharine Houghton commented that her aunt could be "maddeningly self-righteous and bossy". Hepburn confessed to being, especially early in life, "a ''me me me'' person". She saw herself as having a happy nature, reasoning "I like life and I've been so lucky, why shouldn't I be happy?" A. Scott Berg knew Hepburn well in her later years, and said that while she was demanding, there remained a sense of humility and humanity.

When questioned about politics, Hepburn told an interviewer: "I always just say be on the affirmative and liberal side. Don't be a 'no' person." The anti-communist hysteria in 1940s Hollywood provoked political activity from the actress, and she made a speech against censorship in May 1947. The speech shocked the public and she was targeted by right-wing activists as a communist sympathizer, being mentioned at the hearings of the House Un-American Activities Committee. She insisted that the claims made about her were untrue. Throughout her life, Hepburn openly promoted birth control and supported abortion. She refused to accept the Kennedy Center Honors, which are presented by the incumbent president, until Ronald and Nancy Reagan had left the White House.

Hepburn was an atheist, stating in her 1973 interview with Dick Cavett that although she agreed with Christian principles, and thought highly of Jesus Christ, she did not believe in religion or the afterlife. She practiced the "Reverence for Life" theory propounded by Albert Schweitzer, and told a journalist in October 1991, "I believe there's nothing we can know except that we should be kind to each other and do what we can for other people." Her public declarations of these beliefs led the American Humanist Association to award her the Humanist Arts Award in 1985.

===Relationships===

Hepburn's only husband was Ludlow Ogden Smith, a socialite businessman from Philadelphia whom she met while a student at Bryn Mawr. The couple married on December 12, 1928, when she was 21 and he was 29. Hepburn made Smith change his name to S. Ogden Ludlow so that she would not be known as "Kate Smith". It was too plain, she insisted, and disliked that it was the name of an overweight singer who was popular at the time. Hepburn never fully committed to the relationship and prioritized her career. The move to Hollywood in 1932 cemented their estrangement, and in 1934, she traveled to Mexico to get a quick divorce. Hepburn often expressed her gratitude toward Smith for his financial and moral support in the early days of her career, and in her autobiography called herself "a terrible pig" for exploiting his love for her. They remained friends until his death in 1979.

Soon after moving to California, Hepburn began a relationship with her agent Leland Hayward. Both were married. Hayward proposed to Hepburn after they had each divorced, but she did not wish to be married again. She "liked the idea of being my own single self." They were involved for four years. In 1936, while she was touring ''Jane Eyre'', Hepburn began a relationship with entrepreneur Howard Hughes. They first met while Hepburn was filming ''Sylvia Scarlett'', when they were introduced by their mutual friend Cary Grant. Hughes wished to marry her, and the tabloids reported their impending nuptials, but at that time Hepburn was too focused on resurrecting her failing career. They separated in 1938, when Hepburn left Hollywood after being named "box office poison". Hepburn stuck to her decision not to re-marry, and made a conscious choice not to have children. She felt that motherhood should be a full-time commitment, and it was not one she was willing to make. "I would have been a terrible mother," she told Berg, "because I'm basically a very selfish human being." She felt she had partially experienced parenthood through her much younger siblings, which fulfilled any need to have children of her own.

From as early as the 1930s, rumors have persisted that Hepburn was a lesbian or bisexual. In 2007, William J. Mann released a biography of the actress in which he argued this was the case. Katharine Houghton responded to this speculation about her aunt, saying: "I've never discovered any evidence whatsoever that she was a lesbian."

Spencer Tracy

The most significant relationship of Hepburn's life was with Spencer Tracy. In her autobiography she wrote, "It was a unique feeling that I had for [Tracy]. I would have done anything for him." Her friend Lauren Bacall later wrote of how "blindingly" in love Hepburn was with the actor. The relationship has subsequently received much publicity, often cited as one of Hollywood's legendary love affairs. Meeting when she was 34 and he was 41, Tracy was initially wary of Hepburn, being unimpressed that she had dirty fingernails and suspecting that she was a lesbian, but Hepburn said she "knew right away that I found him irresistible." Tracy remained married throughout their relationship; although he and his wife Louise had been living separate lives since the 1930s, there was never an official split and neither party pursued a divorce. Hepburn did not interfere, and never fought for marriage. With Tracy determined to conceal the relationship with Hepburn from his wife, it had to remain private. They were careful not to be seen in public together, and maintained separate residences. Tracy was a periodic alcoholic and troubled individual, whom Hepburn described as "tortured" by guilt and misery, and she devoted herself to making his life easier. Reports from people who saw them together describe how Hepburn's entire demeanor changed when around Tracy. She mothered and obeyed him, and Tracy became heavily dependent on her. They often spent stretches of time apart due to their work, particularly in the 1950s when Hepburn was largely abroad for career commitments. Tracy resented these absences, and while Hepburn was playing ''The Millionairess'' in London in 1952, he had an affair with his ''Plymouth Adventure'' co-star Gene Tierney.

Tracy's health declined significantly in the 1960s, and Hepburn took a five-year break in her career to care for him. She moved into Tracy's house for this period, and was with him when he died on June 10, 1967. Out of consideration for Tracy's family, she did not attend his funeral. It was only after Louise Tracy's death, in 1983, that Hepburn began to speak publicly about her feelings for her frequent co-star. In response to the question of why she stayed with Tracy for so long, despite the nature of their relationship, she said, "I honestly don't know. I can only say that I could never have left him." She claimed not to know how Tracy felt about her; that they "just passed twenty-seven years together in what was to me absolute bliss."

Performances: technique and analysis

According to reports Hepburn was not an instinctive actor, liking to carefully study the text and character beforehand, making sure she knew it thoroughly, and then to rehearse as much as possible and film multiple takes of a scene. With a genuine passion for the industry she committed heavily to each role, and insisted on learning any necessary skills and performing stunts herself. She was known to learn not only her own lines but also those of her co-stars. Stanley Kramer commented on her motivation, saying: "Work, work, work. She can work till everyone drops." With each film Hepburn would involve herself in its production, making suggestions for the script and stating her opinion on everything from costumes to lighting to camerawork.

The characters Hepburn played were, with very few exceptions, wealthy and intelligent, and often they were strong and independent. These tough characters tended to be humbled in some form and revealed to have a hidden softness or vulnerability. Garson Kanin described what he called "the formula for a Hepburn success: A high-class, or stuck-up ... girl is brought down to earth by an earthy type, or a lowbrow ... or a cataclysmic situation. It seems to have worked time and time again." Due to this repeated character arc, Britton sees Hepburn as embodying the "contradictions" of the "nature and status of women", as the strong females she depicts are eventually "restored to a safe position within the status quo". Film critic Molly Haskell has commented on the importance of this to Hepburn's career: with an intimidating presence, it was necessary that her characters "do some kind of self-abasement, to stay on the good side of the audience."

Hepburn was one of the most lauded American actresses of the twentieth century, but has also been criticized for a lack of versatility in her performances. Her on-screen persona closely matched her own real personality, something the actress admitted herself. In 1991 she told a journalist: "I think I'm always the same. I had a very definite personality and I liked material that showed that personality." Playwright and author David Macaray has said, "Picture Katharine Hepburn in every movie she ever starred in and ask yourself if she's not playing, essentially, the same part over and over ... Icon or no icon, let's not confuse a truly fascinating and unique woman with a superior actress." A further repeated criticism is that her presence was too cold.

Final years and death

Hepburn stated in her eighties, "I have no fear of death. Must be wonderful, like a long sleep." Her health began to deteriorate not long after her final screen appearance. In the winter of 1996 she was admitted to hospital with pneumonia, which almost killed her. By 1997 she had become very weak, was speaking and eating very little, and again nearly died. She showed signs of dementia in her final years. In May 2003, an aggressive tumor was found in Hepburn's neck. The decision was made not to medically intervene, and she died on June 29, 2003 at the Hepburn family home in Fenwick, Connecticut. She was 96 years old and was buried in Cedar Hill Cemetery, Hartford, in the family plot. Hepburn requested that there be no memorial service.

Hepburn's death received considerable public attention. Many tributes were held on television, and newspapers and magazines dedicated their issues to the actress. American president George W. Bush said Hepburn "will be remembered as one of the nation's artistic treasures." In honor of her extensive theatre work, the lights of Broadway were dimmed for the evening of July 1, 2003. In 2004, in accordance with Hepburn's wishes, her belongings were put up for auction with Sotheby's in New York. They included personal items, such as the bust of Spencer Tracy she sculpted herself (the highest selling item, at $316,000), and a large collection of material relating to her career. The auction garnered $5.8 million, which Hepburn willed mostly to her family.

Legacy

Hepburn is considered an important and influential cultural figure. Academics Ros Horton and Sally Simmons included her in their book ''Women Who Changed The World'', which honors 50 women who helped shape world history and culture. She is also among the ''Encyclopædia Britannica's'' selection of "300 Women Who Changed the World", ''Ladies Home Journal'''s book ''100 Most Important Women of the 20th Century'', ''Variety'' magazine's "100 Icons of the Century" and is number 84 on VH1's list of the "200 Greatest Pop Culture Icons of All Time".

The legacy of Hepburn lies both on screen and off. She has been credited with "breaking the mold" for women in Hollywood, where she brought a new breed of strong-willed females to the screen. Film academic Andrew Britton wrote a monograph studying Hepburn's "key presence within classical Hollywood, a consistent, potentially radical disturbance", and pinpoints her "central" influence in bringing feminist issues to the screen. Off screen, Hepburn lived in a manner ahead of her time. She thus came to symbolize the "modern woman" and played a part in changing attitudes towards the gender. Horton and Simmons write: "Confident, intelligent and witty, four-time Oscar winner Katharine Hepburn defied convention throughout her professional and personal life ... Hepburn provided an image of an assertive woman whom [females] could watch and learn from." Film historian Jeanine Basinger stated after Hepburn died: "What she brought us was a new kind of heroine—modern and independent. She was beautiful, but she did not rely on that." Mary McNamara, an entertainment journalist and reviewer for the ''Los Angeles Times'' wrote: "More than a movie star, Katharine Hepburn was the patron saint of the independent American female." She was not universally revered by feminists, however, who were angered by her public declarations that women "cannot have it all", meaning a family and a career.

Hepburn's legacy extends to fashion, where she was a pioneer for wearing trousers at a time when it was radical for a woman to do so. This contributed towards making trousers acceptable for women, as fans began to imitate her clothing. In 1986 she received a lifetime achievement award from the Council of Fashion Designers of America in recognition of the influence she played in women's fashion.

A number of Hepburn's films have become classics of American cinema, with four of her pictures (''The African Queen'', ''The Philadelphia Story'', ''Bringing Up Baby'' and ''Guess Who's Coming to Dinner'') featuring on the American Film Institute's list of the 100 Greatest American Films of all time. ''Adam's Rib'' and ''Woman of the Year'' were included in their list of the Greatest American Comedies. Her clipped, patrician voice is considered one of the most distinctive in film history.

Memorials

Hepburn was honored by the Turtle Bay community in Manhattan, New York City, where she maintained a residence for over sixty years. A garden near her home was dedicated in her name in 1997. The garden contains 12 stepping stones, representing her 12 Oscar nominations, each inscribed with a quotation from the actress. After Hepburn's death in 2003, the intersection of East 49th Street and 2nd Avenue was renamed "Katharine Hepburn Place".

Bryn Mawr College, Hepburn's alma mater, launched the Katharine Houghton Hepburn Center in 2006. It is dedicated to both the actress and her mother, and encourages women to address important issues affecting their gender. The center awards the annual Katharine Hepburn Medal, which "recognizes women whose lives, work and contributions embody the intelligence, drive and independence of the four-time-Oscar-winning actress". The Katharine Hepburn Cultural Arts Center was opened in 2009 in Old Saybrook, Connecticut, the location of the Hepburn family beach home which she loved and later owned. It is a non-profit performing arts organization, including a theatre and a museum honoring Hepburn.

The Academy of Motion Picture Arts and Sciences library and the New York Public Library hold collections of Hepburn's personal papers. The New York collection, which documents Hepburn's theatrical career, was presented in a five month exhibition, ''Katharine Hepburn: In Her Own Files'', in 2009. Two other exhibitions have been held to showcase Hepburn's career. ''One Life: Kate, A Centennial Celebration'' was held at the National Portrait Gallery in Washington from November 2007 to September 2008. Kent State University exhibited a selection of Hepburn's film and theatre costumes from October 2010 to September 2011 in ''Katharine Hepburn: Dressed for Stage and Screen''. Hepburn has also been honored with her own postal stamp as part of the "Legends of Hollywood" stamp series.

Characterizations

Hepburn is the subject of a one-woman play, ''Tea at Five'', written by Matthew Lombardo. The first act features Hepburn in 1938, after being labeled "box office poison", and the second act in 1983, where she reflects on her life and career. It was first performed in 2002 at the Hartford Stage. Hepburn has been portrayed in ''Tea at Five'' by Kate Mulgrew, Tovah Feldshuh, Stephanie Zimbalist and Charles Busch.

Feldshuh also appeared as Hepburn in ''The Amazing Howard Hughes'', a 1977 television movie. Mearle Ann Taylor portrayed her in ''The Scarlett O'Hara War'' (1980). In Martin Scorsese's 2004 biopic of Howard Hughes, ''The Aviator'', Hepburn was portrayed by Cate Blanchett, who won the Academy Award for Best Supporting Actress for her performance. This marked the first instance where the portrayal of an Academy Award–winning actress was turned into an Academy Award–winning role.

Filmography and theatre credits

Throughout her 66-year career, Hepburn appeared in 44 feature films, 8 television movies and 33 plays. Her movie career covered a range of genres, including screwball comedies, period dramas, and adaptations of works by America's top playwrights. She appeared on the stage in every decade from the 1920s to the 1980s, performing plays by Shakespeare, Shaw and a Broadway musical.

Select filmography:

''Morning Glory'' (1933)

''Little Women'' (1933)

''Alice Adams'' (1935)

''Stage Door'' (1937)

''Bringing Up Baby'' (1938)

''Holiday'' (1938)

''The Philadelphia Story'' (1940)

''Woman of the Year'' (1942)

''State of the Union'' (1948)

''Adam's Rib'' (1949)

''The African Queen'' (1951)

''Pat and Mike'' (1952)

''Summertime'' (1955)

''The Rainmaker'' (1956)

''Suddenly, Last Summer'' (1959)

''Long Day's Journey Into Night'' (1962)

''Guess Who's Coming to Dinner'' (1967)

''The Lion in Winter'' (1968)

''On Golden Pond'' (1981)Select theatre roles:

''The Philadelphia Story'' (1939–1941)

''As You Like It'' (1950)

''The Millionairess'' (1952)

''The Taming of the Shrew'' (1955)

''Measure for Measure'' (1955)

''The Merchant of Venice'' (1955 and 1957)

''Much Ado About Nothing'' (1957)

''Twelfth Night'' (1960)

''Antony and Cleopatra'' (1960)

''Coco'' (1969–1970)

''The West Side Waltz'' (1981)

Awards and nominations

Hepburn won four Academy Awards, the record number for a performer, and a total of twelve Oscar nominations for Best Actress—a number only surpassed by Meryl Streep. Hepburn also holds the record for the longest time span between first and last Oscar nominations, at 48 years. She received two awards and five nominations from the British Academy Film Awards, one award and six nominations from the Emmy Awards, eight Golden Globe nominations, two Tony Award nominations, and awards from the Cannes Film Festival, Venice Film Festival, the New York Film Critics Circle Awards, the People's Choice Awards and others. She won a Lifetime Achievement Award from the Screen Actors Guild in 1979 and received the Kennedy Center Honors, which recognize a lifetime of accomplishments in the arts, in 1990.

Hepburn received recognition from the Academy of Motion Picture Arts and Sciences for the following performances:

6th Academy Awards (1934): Best Actress, win, for ''Morning Glory''

8th Academy Awards (1936): Best Actress, nomination, for ''Alice Adams''

13th Academy Awards (1941): Best Actress, nomination, for ''The Philadelphia Story''

15th Academy Awards (1943): Best Actress, nomination, for ''Woman of the Year''

24th Academy Awards (1952): Best Actress, nomination, for ''The African Queen''

28th Academy Awards (1956): Best Actress, nomination, for ''Summertime''

29th Academy Awards (1957): Best Actress, nomination, for ''The Rainmaker''

32nd Academy Awards (1960): Best Actress, nomination, for ''Suddenly, Last Summer''

35th Academy Awards (1963): Best Actress, nomination, for ''Long Day's Journey Into Night''

40th Academy Awards (1968): Best Actress, win, for ''Guess Who's Coming to Dinner''

41st Academy Awards (1969): Best Actress, win, for ''The Lion in Winter'' (shared with Barbra Streisand for ''Funny Girl'')

54th Academy Awards (1982): Best Actress, win, for ''On Golden Pond''

References

;Sources

Dickstein, Morris (2002). "''Bringing Up Baby'' (1938)", in ''The A List: The National Society of Film Critics' 100 Essential Films'', ed. Jay Carr. Cambridge, Massachusetts: Da Capo. ISBN 0306810964.

External links

"One Life: Kate, A Centennial Celebration". Online exhibition from the National Portrait Gallery, Smithsonian Institution

Katharine Hepburn Papers, circa 1854–1997 and undated, Billy Rose Theatre Division, New York Public Library for the Performing Arts

Category:1907 births Category:2003 deaths Category:People from Hartford, Connecticut Category:People from Middlesex County, Connecticut Category:American atheists Category:American film actors Category:American memoirists Category:20th-century actors Category:American stage actors Category:American television actors Category:American radio actors Category:BAFTA winners (people) Category:Best Actress Academy Award winners Category:Bryn Mawr College alumni Category:Emmy Award winners Category:Feminist artists Category:Kennedy Center honorees Category:Burials at Cedar Hill Cemetery (Hartford, Connecticut) Category:Actors from Connecticut

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