name	Howard Hawks
birth name	Howard Winchester Hawks
birth date	May 30, 1896
birth place	Goshen, Indiana, United States
death date	December 26, 1977
death place	Palm Springs, California, United States
occupation	Film director, Film producer, Screenwriter
years active	1916–1970
spouse	Athole Shearer (1928–1940)Slim Keith (1941–1949)Dee Hartford (1953–1959) }}

Howard Winchester Hawks (May 30, 1896–December 26, 1977) was an American film director, producer and screenwriter of the classic Hollywood era. He is popular for his films from a wide range of genres such as ''Scarface'' (1932), ''Bringing Up Baby'' (1938), ''Only Angels Have Wings'' (1939), ''His Girl Friday'' (1940), ''Sergeant York'' (1941), ''To Have and Have Not'' (1944), ''The Big Sleep'' (1946), ''Red River'' (1948), ''The Thing from Another World'' (1951), ''Gentlemen Prefer Blondes'' (1953), and ''Rio Bravo'' (1959).

In 1975, Hawks was awarded the Honorary Academy Award as "a master American filmmaker whose creative efforts hold a distinguished place in world cinema," and in 1942 he was nominated for the Academy Award for Best Director for ''Sergeant York''.

Early life and education

Howard Hawks was born in Goshen, Indiana on May 30, 1896. Hawks was the first-born child of Frank W. Hawks (1865–1950), a wealthy paper manufacturer, and the former Helen Howard (1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers and his ancestor John Hawks had emigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Mid-West, due mostly to the highly profitable Goshen Milling Company. Hawk's maternal grandfather C. W. Howard (1845–1916) had homesteaded in Neenah, Wisconsin in 1862 at age 17 and within 15 years had earned a fortune in the town's Paper mill and other industrial endeavors. Frank Hawks and Helen Howard met in the early 1890s and married in 1895. Hawks was the oldest of five children and his birth was followed by Kenneth Neil Hawks (August 12, 1899- January 2, 1930), William Bellinger Hawks (1902- January 10, 1969), Grace Louise Hawks (October 17, 1903- December 23, 1927) and Helen Bernice Hawks (1906- May 4, 1911). In 1898 the family moved to Neenah, Wisconsin where Franks Hawks began working for his father-in-law's Howard Paper Company.

Between 1906 and 1909 the Hawks's family began to spend more time in Pasadena, California during the cold Wisconsin winters in order to improve Helen Hawks's ill health. Gradually they began to spend only their summers in Wisconsin before permanently moving to Pasadena in 1910. The family settled in a house down the street from Throop Polytechnic Institute (which would eventually become California Institute of Technology), and the Hawks children began attending the school's Polytechnic Elementary School in 1907. Hawks was an average student at school and did not exceed in sports, but by 1910 had discovered coaster racing, an early form of soapbox racing. In 1911, Hawks's youngest sibling Helen died suddenly of food poisoning. From 1910 to 1912 Hawks attended Pasadena High School, where he was again an average student. But in 1912 the Hawks family moved to nearby Glendora, California, where Frank Hawks owned orange groves. Hawks finished his junior year of high school at Citrus Union High School in Glendora., and was then sent to Phillips Exeter Academy in New Hampshire from 1913 to 1914. Again, he was an average student and his family's wealth may have influenced his acceptance to the elite private school. While in New England, Hawks often attended theatrical shows in nearby Boston. In 1914 Hawks returned to Glendora and graduated from Pasadena High School in 1914. In 1914 Hawks was accepted to Cornell University in Ithaca, New York, where he majored in mechanical engineering and was a member of Delta Kappa Epsilon. As always, Hawks was an average student and college friend Ray S. Ashbury remembered him as spending more of his time playing craps and drinking alcohol than studying, although Hawks was also known to be a voracious reader of popular American and English novels in college.

In 1916, C.W. Howard bought his grandson Howard a Mercer race car and Hawks began both racing and working on his new car during summer vacation in California. It was at this time that Hawks first met Victor Fleming, allegedly when the two men raced on a dirt track and caused an accident. Fleming had been an auto mechanic and early aviator when his old friend Marshall Neilan recommended him to film director Allan Dwan as a good mechanic. Fleming went on to impress Dwan by quickly fixing both his car and a faulty film camera and by 1916 had worked his way up to the position of cinematographer. Meeting Fleming lead to Hawk's first job in the film industry as a prop boy on the Douglas Fairbanks film ''In Again, Out Again'' for Famous Players-Lasky, which Fleming was employed on as the cinematographer. According to Hawks, a new set was in need of quickly being built when the studios set designer was unavailable and Hawks volunteered to do the job himself, much to Fairbank's satisfaction. He was next employed as a prop boy and general assistant on an unspecified film directed by Cecil B. DeMille (Hawks never named the film in later interviews and DeMille made five films roughly in that time period). While breaking into the film industry in the summer of 1916, Hawks also unsuccessfully attempted to transfer to Stanford University, and then returned to Cornell in September 1916. Hawks left Cornell in April 1917 when the United States declared war on Germany and entered World War I. Like many college students who joined the Armed services during the war, he received a degree in absentia in 1918. Before Hawks was called for active duty, he took the opportunity to go back to Hollywood and by the end of April 1917 was working on Cecil B. DeMille's ''The Little American'', where he met and befriended the then eighteen-year-old slate boy James Wong Howe. Hawks next worked on the Mary Pickford film ''The Little Princess'', directed by Marshall Neilan. According to Hawks, Neilan did not show up to work one day and the resourceful Hawks offered to direct a scene himself, which Pickford agreed to allow. Hawks then had his first experience as a film director at the age of twenty-one when he and cinematographer Charles Rosher spent the day filming a tricky double exposure dream sequence with Pickford. Hawks worked with Pickford and Neilan again on ''Amarilly of Clothes-Line Alley'' before joining the United States Army Air Service. Hawks's military records were destroyed in the 1973 Military Archive Fire, so the only account of his military service is his own. According to Hawks, he spent fifteen weeks in basic training at the University of California in Berkeley where he was trained to be a squadron commander. When Mary Pickford visited Hawks at basic training, his superior officers were so impressed that they promoted him to flight instructor and sent him to Texas to teach new recruits. Due to boredom, Hawks attempted to get a transfer during the first half of 1918 before finally being sent to Fort Monroe, Virginia. But the Armistice was signed in November of that year and Hawks was discharged as a Second Lieutenant without having seen active duty.

Early film career

After the War, Hawks was eager to return to Hollywood. After having also served in the Air Force, his brother Kenneth Hawks graduated from Yale University in 1919 and the brothers moved to Hollywood together to pursue their careers. They quickly made friends with Hollywood insider (and fellow Ivy Leaguer) Allan Dwan, but Hawks landed his first important job when he used his family's wealth to loan money to studio head Jack Warner. Warner quickly paid the loan back and hired Hawks as a producer to "oversee" the making of a new series of one-reel comedies starring the Italian comedian Monty Banks. Hawks stated that he personally directed "three or four" of the shorts, however no documentation exists to confirm this. The films were profitable, but Hawks soon left the series and proceeded to form his own production company using his family wealth and connections to secure financing. The company was named ''Associated Producers'' and was a joint venture between Hawks, Allan Dwan, Marshall Neilan and director Allen Holubar, with a distribution deal through First National. The company made fourteen films between 1920 and 1923, with eight directed by Neilan, three by Dwan and three by Holubar. More of a "boy's club" than a production company, the four men gradually drifted apart and went there separate ways by 1923, at which time Hawks decided that he wanted to direct instead of produce.

Beginning in the early 1920, Hawks lived in rented houses in Hollywood with the group of friends he was accumulating. This rawdy group of mostly macho, risk-taking men included his brother Kenneth Hawks, Victor Fleming, Jack Conway, Harold Rosson, Richard Rosson, Arthur Rosson and Eddie Sutherland. During this time period Hawks first met Irving Thalberg, the frail and sickly vice-President in charge of production at Metro-Goldwyn-Mayer. Eventually many of the young men in this group would become successful at MGM under Thalberg, and Hawks admired his intelligence and sense of story. At the same time, Hawks was becoming friends with barn stormers and pioneer aviators at Rogers Airport in Los Angeles, getting to know men like Moye Stephens. In 1923, Famous Players-Lasky president Jesse Lasky was looking for a new Production Editor in the Story department of his studio, and Thalberg suggested the Ivy-League Hawks. Hawks accepted and was immediately put in charge of over forty productions, including many literary acquisitions that included works by Joseph Conrad, Jack London and Zane Grey. Hawks worked on the scripts for all of the films produced, but had his first official screenplay credit in 1924 on ''Tiger Love''. Hawks was the Story Editor at Famous Players (later Paramount Pictures) almost two years, and occasionally edited such films as ''Heritage of the Desert''. Although Hawks signed a new one-year contract with Famous-Players in the fall of 1924, he broke his contract to become a story editor for Thalberg at MGM with the promise that Thalberg would make him a director in a year. But in 1925 when Thalberg hesitated to follow through on his promise, Hawks broke his contract at MGM.

Career as a film director

Silent Films: 1925-1929

In October 1925 Sol Wurtzel, William Fox's studio superintendent at the Fox Film Corporation, invited Hawks to join his company with the promise of letting Hawks direct. Over the next three years, Hawks directed his first eight films (six silent, two "talkies"). A few months after joining Fox Kenneth Hawks was also hired and eventually became one of Fox's top production supervisors. Hawks reworked the scripts of most of the films he directed without always taking official credit for his work. He also worked on the scripts for ''Honesty- The Best Policy'' in 1926 and Joseph von Sternberg's ''Underworld'' in 1927, famous for being one of the first gangster film. In 1926 Hawks was introduced to Athole Shearer by his friend Victor Fleming, who was dating Athole's sister Norma Shearer at the time. Shearer's first marriage to writer John Ward was unhappy and she and Hawks began dating throughout 1927 until Shearer asked Ward for a divorce in 1928. Shearer had a young son with Ward named Peter. At the same time, Kenneth Hawks began dating actress Mary Astor, and Hawks's youngest brother Bill began dating actress Bessie Love. Kenneth Hawks and Mary Astor eventually married in February 1928, while Bill Hawks and Bessie Love married in December 1929. On December 23, 1927 Hawk's sister Grace died of tuberculosis after Hawk's mother refused to allow medical treatment because of her Christian Science beliefs. Hawks and Athole Shearer finally married on May 28, 1928 and they honeymooned in Hawaii. Hawk's contract with Fox ended in May 1929, and he never again signed a long-term contract with a major studio but managed to remain an independent producer-director for the rest of his long career. In October 1929, Hawks and Shearer had their first child, David Hawks.

''The Road to Glory'' (1926)

Hawks's first film ''The Road to Glory'' was based on a thirty-five page treatment that Hawks wrote and is one of only two Hawks films that are lost films. The film stars May McAvoy as a young woman who is gradually going blind and tries to spare the two men in her life from the burden of her illness. The two men are her boyfriend Rockliffe Fellowes and her father Ford Serling, with Leslie Fenton playing the greedy rich man whom she agrees to live with in order to get away from her father and lover. The film contained religious iconography and messages that would never again be seen in a Hawks film. It was shot from December 1925 to January 1926 and premiered in April. It received good reviews from film critics. In later interviews, Hawks said "It didn't have any fun in it. It was pretty bad. I don't think anybody enjoyed it except a few critics." Hawks was dissatisfied with the film after being certain that dramatic films would establish his reputation, but realized what he had done wrong when Sol Wurtzel told Hawks "Look, you've shown you can make a picture, but for God's sake, go out and make entertainment."

''Fig Leaves'' (1926)

Immediately after completing ''The Road to Glory'' Hawks began writing his next film, ''Fig Leaves'', his first (and only until 1935) comedy. The film portrays a married couple by juxtaposing them in the Garden of Eden and in modern New York City. The Garden of Eden humorously depicts Adam and Eve awoken by a Flintstones-like coconut alarm clock and Adam reading the morning paper off of giant stone tablets. Then in the modern day the biblical serpent is replaced by Eve's gossiping neighbor and Eve becomes a sexy flapper and fashion model when Adam is at work. The film starred George O'Brien as Adam and Olive Borden as Eve and received positive reviews, particularly for the art direction and costume designs. It was released in July 1926 and was a Hawk's first hit film as a director. Although he mainly dismissed his early work, Hawks praised the film in later interviews.

''Paid to Love'' (1927)

''Paid to Love'' is notable in Hawks's filmography as being the only time that he made a highly stylized, experimental film. German film director F. W. Murnau had recently made ''The Last Laugh'' and ''Sunrise'' and was the most critically acclaimed director in Hollywood, and Hawks's attempted to imitate Murnau's style with this film. The film includes atypical tracking shots, expressionistic lighting and stylistic film editing that was inspired by German Expressionist films. In a later interview Hawks commented "It isn't my type of stuff, at least I got it over in a hurry. You know the idea of wanting the camera to do those things: Now the camera's somebody's eyes." Hawks worked on the script with Seton I. Miller, with whom he would go on to collaborate with on seven more films. The film stars George O'Brien as the introverted Crown Prince Michael, William Powell as his happy-go-lucky brother and Virginia Valli as Michael's flapper love interest Dolores. Valli's character was an early yet incomplete example of the Hawkian woman archetype as the sexually aggressive showgirl, while O'Brien's Michael portrayal of a shy man not interested in sex is a character later elaborated upon by Cary Grant and Gary Cooper in later Hawks films. ''Paid to Love'' was completed by September 1926, but remained unreleased until July 1927, when it was unsuccessful financially.

''The Cradle Snatchers'' (1927)

''The Cradle Snatchers'' was based on a 1925 hit stage play by Russell G. Medcraft and Norma Mitchell about three unhappy, middle-aged housewives who teach their adulterous husbands a lesson by starting affairs with college-aged young men during the jazz age. The film starred Louise Fazenda, Dorothy Phillips and Ethel Wales and was shot in early 1927. The film was released in May 1927 and was a minor hit. For many years it was believed to be a lost film until film director Peter Bogdanovich discovered a print in 20th Century Fox's film vaults, although the print was missing part of reel three and all of reel four.

''Frazil'' (1928)

In March 1927 Hawks signed a new one-year, three picture contract with Fox and was assigned to direct ''Frazil'', based on the play ''L'Insoumise'' by Pierre Frondaie. Hawks again worked with Seton Miller on the script about a Middle Eastern prince who has an affair with a Parisienne showgirl and cast Charles Farrell as the prince and Greta Nissen as Fabienne. Hawks went both over schedule and over budget on the film, which began the rift between him and Sol Wurtzel that would eventually lead to Hawks leaving Fox. Although finished in August 1927, the film was not released until June 1928.

''A Girl in Every Port'' (1928)

''A Girl in Every Port'' is considered by film scholars to be the most important film of Hawks's silent career because it is his first film to introduce many of the Hawksian themes and characters that would continue until his final films. It was his first "love story between two men" where two men bond over their duty, skills and careers while considering their friendship to be more important than any affection towards a female. Hawks wrote the original story and developed the screenplay with James Kevin McGuinness and Seton Miller. In the film Victor McLaglen and Robert Armstrong play two merchant seamen who are arch rivals when it comes to conquest women, with McLaglen constantly finding Armstrong's tattoo on the women that he is attempting to seduce. Eventually the two rivals become friends and develop a heterosexual mutual admiration for each other. Louise Brooks plays the cabaret singer that the two men fall in love with. The film was filmed from October to December 1927 and released in February 1928. It was successful in the US, and very successful in Europe where Louise Brooks was developing a cult following. In France, Henri Langlois called Hawks "the Gropius of the cinema" and Swiss novelist and poet Blaise Cendrars said that the film "definitely marked the first appearance of contemporary cinema." However Hawks once again went over budget with this film and his relationship with Sol Wurtzel became worse. After an advanced screening that received positive reviews, Wurtzel told Hawks "This is the worst picture Fox has made in years."

''The Air Circus'' (1928)

''The Air Circus'' is Hawks's first film centered around aviation, one of his early loves. In 1928, Charles Lindbergh was the world's most famous person and ''Wings'' was one of the most popular films of the year. Wanting to capitalize on the countries aviation craze, Fox immediately bought Hawks's original story for ''The Air Circus'', a variation of the male friendship plot of ''A Girl in Every Port'' about two young pilots. Officially, the original story is credited to Graham Baker and Andrew Bennison, while the screenplay was written by Seton Miller and Norman Z. McLeod. In the film, Arthur Lake and David Rollins play two eager young pilots at flight school who compete over their flight instructors aviatrix sister played by Sue Carol. The film was shot from April to June 1928, but Fox ordered an additional 15 minutes of dialogue footage to be shot so the film could compete with the new "talkies" being released. Hawks hated the new dialogue written by Hugh Herbert and he refused to participate in the re-shoots. The film was released in September 1928 and was a moderate hit. It is one of two filmed directed by Hawks's that is a lost film.

''Trent's Last Case'' (1929)

''Trent's Last Case'' is an adaptation of British author E. C. Bentley's 1913 novel of the same name, and had already been adapted to film in England in 1920. Hawks considered the novel to be "one of the greatest detective stories of all time" and was eager to make it his first sound film. He cast Raymond Griffith in the lead role of Phillip Trent. Griffith's throat had been damaged by poison gas during World War I and his voice was a horse whisper, prompting Hawks to later state "I thought he ought to be great in talking pictures ''because'' of that voice." However, after shooting only a few scenes, Fox shut Hawks down and ordered him to make a silent film, both because of Griffith's voice and because they only owned the legal rights to make a silent film. The film did have a musical score and synchronized sound effects, but no dialogue. Due to the failing business of silent films, it was never released in the US and only briefly screened in England where film critics hated it. The film was believed lost until the mid-1970s and was screened for the first time in the US at a Hawks retrospective in 1974. Hawks was in attendance of the screening and attempted to have the only print of the film destroyed.

Early Sound Films:1930-1934

By 1930, Hollywood was in upheaval over the coming of "talkies" and many careers (both actors and directors) were ruined. Many Hollywood studios were recruiting stage actors and directors that they believed were better suited for sound films. After having worked in the industry for 14 years and directing many financially successful films, Hawks found himself having to re-prove himself as being an asset to the studios. Leaving Fox on sour terms didn't help his reputation, but Hawks was one of the few people in Hollywood who never backed down from fights with studio heads. After several months of unemployment, Hawks renewed his career with his first sound film in 1930.

On January 2, 1930, Hawks's brother Kenneth Hawks died while shooting the film ''Such Men Are Dangerous''. Kenneth's career as a director was quickly rising after his debut film ''Big Time'' in 1929. This sound film starred Lee Tracy and Mae Clarke and was an early example of the "fast-talking" sound films that Howard Hawks would later make one of his signatures. ''Such Men Are Dangerous'' was based on the life Alfred Lowenstein, a Belgian captain who either jumped or fell out of his plane in 1928. On January 2, Kenneth Hawks and his crew flew three planes (two with cameras, one with a stunt actor) over Santa Monica Bay when the two camera planes crashed into each other, killing ten men. The crash was the first major on-set accident in Hollywood history and made national news. Mary Astor kept her distance from the Hawks family after Kenneth's death.

''The Dawn Patrol'' (1930)

Hawks's first all sound film was ''The Dawn Patrol'', based on an original story by John Monk Saunders and (unofficially) Hawks. Saunders was a flight instructor during World War I and had written ''Wings''. He was considered one of the most talented writers in Hollywood and was often compared to F. Scott Fitzgerald and Ernest Hemingway. Accounts vary on who first came up with the idea of the film, but Hawks and Saunders developed the story together and tried to sell it to several studios before First National agreed to produce the film. Saunders received solo screen credit for the original story and won an Academy Award for Best Story in 1930. The screenplay was written by Hawks, Seton Miller and Dan Totheroh and starred Richard Barthelmess and Douglas Fairbanks, Jr. Shooting began in late February 1930, about the same time that Howard Hughes was finally finishing his epic World War I aviation epic ''Hell's Angel's'' after being in production since September 1927. Hawks schrewdly began to hire many of the aviation experts and cameramen that had been employed by Hughes, including Elmer Dyer, Harry Reynolds and Ira Reed. When Hughes found out about the rival film, he did everything he could to sabotage ''The Dawn Patrol'' by harassing Hawks and other studio personal, hiring a spy that was quickly caught and finally suing First National for copyright infringement. Hughes finally dropped the lawsuit in late 1930 and he and hawks became good friends during the legal battle. In the film, Barthelmess and Fairbanks play two Royal Flying Corps pilots during World War I who deal with the pressure of wartime combat and constant death by drinking and fighting with their commanding officer. Filming was finished in late May 1930 and premiered in July, setting a first week box office record at the Winter Garden Theatre in New York. The film became one of the biggest hits of 1930.

''The Criminal Code'' (1931)

Hawks didn't get along with Warner Brothers executive Hal B. Wallis and his contract allowed him to be loaned out to other studios. Hawks took the opportunity to accept a directing offer from Harry Cohn at Columbia Pictures: ''The Criminal Code'', based on a successful play by Martin Flavin. Hawks and Seton Miller worked on the script with Flavin for a month and filming began in September 1930. The film starred Walter Huston, Phillips Holmes, Constance Cummings and Boris Karloff. Huston plays a prison warden who wants to reform the conditions of the inmates and Holmes plays a wrongly convicted prisoner who learns about the "code" of not ratting on other inmates. Hawks called Huston "the greatest actor [he] ever worked with". Hawks also worked with his old friend James Wong Howe for the first time as a cinematographer. The film opened in January 1931 and was a hit. Hawks encountered a minor amount of censorship when the film was banned in Chicago, which would deal with even further on his next film.

''Scarface'' (1932)

In 1930 Howard Hughes hired Hawks to direct ''Scarface'', a gangster film loosely based on the life of Chicago mobster Al Capone. The film starred Paul Muni in the title role, with memorable supporting performances from George Raft, Boris Karloff, and Osgood Perkins. The film was completed in September 1931, but the censorship of the Hays Code prevented it from being released as Hawks and Hughes had originally intended, and the two men fought the Hays Office (and made compromises) for over a year until the film was released in 1932, after such other pivotal early gangster films as ''The Public Enemy'' and ''Little Caesar''. ''Scarface'' was the first film in which Hawks worked with screenwriter Ben Hecht, who became a close friend and collaborator for twenty years.

''The Crowd Roars'' (1932)

After filming was complete on ''Scarface'', Hawks left Hughes to fight the legal battles and returned to First National to fulfill his contract, this time with producer Darryl F. Zanuck. For his next film, Hawks wanted to make a film about his childhood passion: car racing. ''The Crowd Roars'' is loosely based on the play ''The Barker: A Play of Carnival Life'' by Kenyon Nicholson. Hawks developed the script with Seton Miller for their eighth and final collaboration and the script was by Miller, Kubec Glasmon, John Bright and Niven Busch. The film starred James Cagney, Eric Linden, Joan Blondell and Ann Dvorak. In the film, Cagney plays a race car driver who tries to "protect" his younger brother Linden, who is also a driver, from being distracted by his girlfriend, Blondell. At the same time, Cagney must hide his own neurotic girlfriend, played by Dvorak, from his younger brother. Blondell and Dvorak were initially cast in each others roles but swapped after a few days of shooting. Shooting began on December 7, 1931 at Ascot Motor Speedway and wrapped on February 1, 1932. Hawks used real race car drivers in the film, including the 1930 Indianapolis 500 winner Billy Arnold. The film was released in March and became a hit.

''Tiger Shark'' (1932)

Later in 1932 he directed ''Tiger Shark'' starring Edward G. Robinson as a tuna fisherman. In these early films, Hawks established the prototypical "Hawksian Man", which film critic Andrew Sarris described as "upheld by an instinctive professionalism."

''Today We Live'' (1933)

In 1933 Hawks signed a three-picture deal at Metro-Goldwyn-Mayer Studios and his first film was there ''Today We Live'' in 1933, starring Joan Crawford and Gary Cooper. The World War I film was based on a short story by author William Faulkner, who Hawks got to know personally during the shooting of the film and remained friends with for over twenty years.

Hawks's next two films at MGM were the boxing drama ''The Prizefighter and the Lady'' and the bio-pic ''Viva Villa!'', starring Wallace Beery as Mexican Revolutionary leader Pancho Villa. But because of studio interference on both films, Hawks walked out on his MGM contract without completing either film himself.

Later Sound Films

In 1934 Hawks went to Columbia Pictures to make his first screwball comedy, ''Twentieth Century'', starring John Barrymore and Hawks's distant cousin Carole Lombard. The film was based on a stage play by Ben Hecht and Charles MacArthur, and along with Frank Capra's ''It Happened One Night'' (released the same year) is considered to be the defining film of the screwball comedy genre. In 1935 Hawks made ''Barbary Coast'' with Edward G. Robinson and Miriam Hopkins. In 1936 he made the aviation adventure ''Ceiling Zero'' with James Cagney and Pat O'Brien. Also in 1936, Hawks began filming ''Come and Get It'', starring Edward Arnold, Joel McCrea, Frances Farmer and Walter Brennan. But he was fired by Samuel Goldwyn in the middle of shooting and the film was completed by William Wyler.

In 1938 Hawks made the screwball comedy ''Bringing Up Baby'' for RKO Pictures. The film starred Cary Grant and Katharine Hepburn and has been called "the screwiest of the screwball comedies" by film critic Andrew Sarris. In the film, Grant plays a near-sighted paleontologist who suffers one humiliation after another due to the lovestruck socialite played by Hepburn. The film was unsuccessful when initially released but has gradually become regarded as Hawks's masterpiece. Hawks followed this with the aviation drama ''Only Angels Have Wings'', again starring Cary Grant and made in 1939 for Columbia Pictures. The film also starred Jean Arthur, Thomas Mitchell, Rita Hayworth and Richard Barthelmess.

In 1940 Hawks returned to the screwball comedy genre with ''His Girl Friday'', starring Cary Grant and Rosalind Russell. The film was an adaptation of the hit Broadway play ''The Front Page'' by Ben Hecht and Charles MacArthur, which had already been made into a film in 1931. In 1941 Hawks made ''Sergeant York'', starring Gary Cooper as a pacifist farmer who becomes a decorated World War I soldier. The film was the highest-grossing film of 1941 and won two Academy Awards (Best Actor and Best Editing), as well as earning Hawks his only nomination for Best Director. Later that year Hawks re-teamed with Cooper for ''Ball of Fire'', also starring Barbara Stanwyck. The film was written by Billy Wilder and Charles Brackett and is playfully based on ''Snow White and the Seven Dwarfs''. In the film, Cooper plays a sheltered, intellectual linguist who is writing an encyclopedia with six other scientists, and hires street-wise Stanwyck to help them with modern slang terms. In 1941 Hawks began work on the Howard Hughes produced (and later directed) film ''The Outlaw'', based on the life of Billy the Kid and starring Jane Russell. Hawks completed initial shooting of the film in early 1941, but due to perfectionism and battles with the Hollywood Production Code, Hughes continued to re-shoot and re-edit the film until it was finally released in 1943, with Hawks uncredited as director.

After making the World War II film ''Air Force'' in 1943 starring John Garfield, Hawks made two films with Hollywood and real life lovers Humphrey Bogart and Lauren Bacall. ''To Have and Have Not'', made in 1944, stars Bogart, Bacall and Walter Brennan and is based on a short story by Ernest Hemingway. Hawks was a close friend of Hemingway and made a bet with the author that he could make a good film out of Hemingway's "worst book". Hawks, William Faulkner and Jules Furthman collaborated on the script about a French fishing boat captain and various situations of espionage during the Fall of France in 1940. Bogart and Bacall fell in love on the set of the film and married soon afterwards. Hawks re-teamed with the newlyweds in 1946 with ''The Big Sleep'', based on the Philip Marlowe detective novel by Raymond Chandler.

In 1948, Hawks made ''Red River'', an epic western reminiscent of ''Mutiny on the Bounty'' starring John Wayne and Montgomery Clift in his first film. Later that year, Hawks remade his earlier film ''Ball of Fire'' as ''A Song Is Born'', this time starring Danny Kaye and Virginia Mayo. This version of the film follows the same plot but pays more attention to popular jazz music and includes such jazz legends as Tommy Dorsey, Benny Goodman, Louis Armstrong, Lionel Hampton, and Benny Carter playing themselves. In 1949 Hawks re-teamed with Cary Grant in the screwball comedy ''I Was a Male War Bride'', also starring Ann Sheridan.

In 1951, he produced - and some believe essentially directed - the science fiction film ''The Thing from Another World''. He followed this with the 1952 western film ''The Big Sky'', starring Kirk Douglas. Later in 1952 Hawks re-teamed with Cary Grant for the fifth and final time in the screwball comedy ''Monkey Business'', also starring Marilyn Monroe and Ginger Rogers. Grant plays a scientist reminiscent of his character in ''Bringing up Baby'', who creates a formula that increases his vitality. Film critic John Belton called the film Hawks's "most organic comedy." Hawks's third film of 1952 was a contribution to the omnibus film ''O. Henry's Full House'', which includes short films based on the stories by the writer O. Henry made by various directors. Hawks's short film ''The Ransom of Red Chief'' starred Fred Allen, Oscar Levant and Lee Aaker.

In 1953, Hawks made ''Gentlemen Prefer Blondes'', which featured Marilyn Monroe famously singing "Diamonds Are a Girl's Best Friend." The film starred Monroe and Jane Russell as two gold digging, cabaret performer best friends that many critics point out is Hawks's only female version of his celebrated "buddy film" genre. In 1955 Hawks made an atypical ''Land of the Pharaohs'', a Sword-and-sandal epic about ancient Egypt and starring Jack Hawkins and Joan Collins. The film was Hawks's final collaboration with longtime friend William Faulkner before the author's death. In 1959 Hawks re-teamed with John Wayne in ''Rio Bravo'', also starring Dean Martin, Ricky Nelson and Walter Brennan as four marshal's "defending the fort" of their local jail where a local criminal is awaiting a trial and his family attempt to break him out. Film critic Robin Wood has said if he "were asked to choose a film that would justify the existence of Hollywood...it would be ''Rio Bravo''."

In 1962 Hawks made ''Hatari!'', again with John Wayne as a big game hunter in Africa. In 1964 Hawks made his final comedy, ''Man's Favorite Sport?'', which starred Rock Hudson (since Cary Grant felt he was too old for the role) and Paula Prentiss. Hawks then returned to his childhood passion for car races with ''Red Line 7000'' in 1965. the film starred a young James Caan in his first leading role. Hawks's final two films were both Western remakes of ''Rio Bravo'' starring John Wayne. In 1967 Hawks made ''El Dorado'', starring Wayne, Robert Mitchum and James Caan. In 1970 he made ''Rio Lobo'', with Wayne, Jorge Rivero and Jack Elam.

Personal life

Hawks was married three times:

to Athole Shearer (1928–1940), sister of movie actress Norma Shearer, mother of his daughter Barbara Hawks and son David Hawks;

to Slim Keith (1941–1949), who was the mother of his daughter, Kitty Hawks, a noted interior designer; and

to Dee Hartford (1953–1959), an actress whose real name was Donna Higgins.

His brothers were director/writer Kenneth Neil Hawks and film producer William Bettingger Hawks.

Hawks died on 26 December 1977 aged 81 from complications of a fall several weeks earlier.

Style

Hawks was versatile as a director, filming comedies, dramas, gangster films, science fiction, film noir, and Westerns. Hawks's own functional definition of what constitutes a "good movie" is revealing of his no-nonsense style: "Three great scenes, no bad ones." Hawks also defined a good director as "someone who doesn't annoy you".

While Hawks was not sympathetic to feminism, he popularized the Hawksian woman archetype, which has been cited as a prototype of the post-feminist movement.

Legacy

His directorial style and the use of natural, conversational dialogue in his films were cited a major influence on many noted filmmakers, including Robert Altman, John Carpenter, and Quentin Tarantino.

Brian De Palma dedicated his version of ''Scarface'' to Hawks and Ben Hecht.

Although his work was not initially taken seriously by British critics of the ''Sight and Sound'' circle, he was venerated by French critics associated with ''Cahiers du cinéma'', who intellectualized his work in a way Hawks himself was moderately amused by, and he was also admired by more independent British writers such as Robin Wood.

Critic Leonard Maltin labeled Hawks "the greatest American director who is not a household name," noting that, while his work may not be as well known as Ford, Welles, or DeMille, he is no less a talented filmmaker.

Hawks was nicknamed "The Gray Fox" by members of the Hollywood community.

Awards

He was nominated for Academy Award for Best Director in 1942 for ''Sergeant York'', but he received his only Oscar in 1975 as an Honorary Award from the Academy.

His films ''The Big Sleep'', ''Bringing up Baby'', ''His Girl Friday'', ''Red River'', ''Scarface'', ''Sergeant York'', ''The Thing from Another World'' and ''Twentieth Century'' were rated "culturally significant" by the United States Library of Congress and inducted into the National Film Registry.

''Bringing Up Baby'' (1938) was listed number ninety-seven on American Film Institute's AFI's 100 Years... 100 Movies. ''His Girl Friday'' (1940) was listed #19 on American Film Institute's AFI's 100 Years... 100 Laughs.

For his contribution to the motion picture industry, Howard Hawks has a star on the Hollywood Walk of Fame at 1708 Vine Street.

Filmography

References

Further reading

Clark Branson, ''Howard Hawks, A Jungian Study'', Garland-Clarke Editions, 1987

Jim Hillier, ''Howard Hawks: American Artist'', Peter Wollen (British Film Institute, 1997)

Suzanne Liandrat-Guigues, ''Red River'', bfi Publishing, 2000

Joseph McBride, ''Hawks on Hawks'', (University of California Press, 1982)

Joseph McBride (ed), ''Focus on Howard Hawks'', Prentice-Hall, Inc, 1972

Todd McCarthy, ''Howard Hawks: The Grey Fox of Hollywood'', (Grove Press, 1997)

Pippin, Robert B. ''Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy'' (Yale University Press, 2010) 208 pp.

Robin Wood, ''Howard Hawks'', Secker & Warburg, 1968

Robin Wood, ''Howard Hawks'', British Film Institute, 1981, revised with addition of chapter "Retrospect".

Robin Wood, ''Rio Bravo'', (BFI Publishing, 2003)

Robin Wood, ''Howard Hawks'' (New Edition), (Wayne State University Press, 2006)

External links

Bibliography of books and articles about Hawks via UC Berkeley Media Resources Center

Profile at Senses of Cinema

BBC interview

Category:1896 births Category:1977 deaths Category:Academy Honorary Award recipients Category:American aviators Category:American film directors Category:American film producers Category:American military personnel of World War I Category:American people of English descent Category:American racing drivers Category:American screenwriters Category:Cornell University alumni Category:Deaths from stroke Category:People from Goshen, Indiana Category:People from Neenah, Wisconsin Category:People from Pasadena, California Category:Phillips Exeter Academy alumni Category:Silent film directors Category:United States Army Air Forces officers Category:United States Army personnel Category:Western (genre) film directors

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name	John Wayne
birth name	Marion Robert Morrison
birth date	May 26, 1907
birth place	Winterset, Iowa, U.S.
death date	June 11, 1979
death place	Los Angeles, California
other names	Marion Mitchell Morrison; "The Duke"; Duke Morrison; Marion Michael Morrison
occupation	Actor, director, producer
education	Glendale High School
alma mater	University of Southern California
home town	Glendale, California
party	Republican
years active	1926–1976
death cause	Stomach cancer
spouse	Josephine Alicia Saenz (1933–1945)Esperanza Baur (1946–1954)Pilar Pallete (1954–1979)
website	http://www.johnwayne.com }}

Marion Mitchell Morrison (born Marion Robert Morrison; May 26, 1907 – June 11, 1979), better known by his stage name John Wayne, was an American film actor, director and producer. An Academy Award-winner, Wayne was among the top box office draws for three decades, and was named the all-time top money-making star. An enduring American icon, he epitomized rugged masculinity and is famous for his demeanor, including his distinctive calm voice, walk, and height.

Wayne was born in Winterset, Iowa but his family relocated to the greater Los Angeles area when he was four years old. He found work at local film studios when he lost his football scholarship to USC as a result of a bodysurfing accident. Initially working for the Fox Film Corporation, he mostly appeared in small bit parts. His acting breakthrough came in 1939 with John Ford's ''Stagecoach'', making him an instant star. Wayne would go on to star in 142 pictures, primarily typecast in Western films.

Among his best known films are ''The Quiet Man'' (1952), which follows him as an Irish-American boxer and his love affair with a fiery spinster played by Maureen O'Hara; ''The Searchers'' (1956), in which he plays a Civil War veteran who seeks out his abducted niece; ''Rio Bravo'' (1959), playing a Sheriff with Dean Martin; ''True Grit'' (1969), playing a humorous U.S. Marshal who sets out to avenge a man's death in the role that won Wayne an Academy Award; and ''The Shootist'' (1976), his final screen performance in which he plays an aging gunslinger battling cancer.

Wayne moved to Orange County, California in the 1960s, and was a prominent Republican in Hollywood, supporting anti-communist positions. He died of stomach cancer in 1979. In June 1999, the American Film Institute named Wayne 13th among the Greatest Male Screen Legends of All Time.

Early life

Wayne was born Marion Robert Morrison at 216 South Second Street in Winterset, Iowa. His middle name was soon changed from Robert to Mitchell when his parents decided to name their next son Robert.

Wayne's father, Clyde Leonard Morrison (1884–1937), was the son of American Civil War veteran Marion Mitchell Morrison (1845–1915). Wayne's mother, the former Mary "Molly" Alberta Brown (1885–1970), was from Lancaster County, Nebraska. Wayne was of Scots-Irish and Scottish descent on both sides of his family, and he was brought up as a Presbyterian.

Wayne's family moved to Palmdale, California, and then in 1911 to Glendale, California, where his father worked as a pharmacist. A local fireman at the station on his route to school in Glendale started calling him "Little Duke" because he never went anywhere without his huge Airedale Terrier, Duke. He preferred "Duke" to "Marion", and the name stuck for the rest of his life.

As a teen, Wayne worked in an ice cream shop for a man who shod horses for Hollywood studios. He was also active as a member of the Order of DeMolay, a youth organization associated with the Freemasons. He attended Wilson Middle School in Glendale. He played football for the 1924 champion Glendale High School team.

Wayne applied to the U.S. Naval Academy, but was not accepted. He instead attended the University of Southern California (USC), majoring in pre-law. He was a member of the Trojan Knights and Sigma Chi fraternities. Wayne also played on the USC football team under coach Howard Jones. An injury curtailed his athletic career; Wayne later noted he was too terrified of Jones's reaction to reveal the actual cause of his injury, which was bodysurfing at the "Wedge" at the tip of the Balboa Peninsula in Newport Beach. He lost his athletic scholarship and, without funds, had to leave the university.

Wayne began working at the local film studios. Prolific silent western film star Tom Mix had found him a summer job in the prop department in exchange for football tickets. Wayne soon moved on to bit parts, establishing a longtime friendship with the director who provided most of those roles, John Ford. Early in this period, Wayne appeared with his USC teammates playing football in ''Brown of Harvard'' (1926), ''The Dropkick'' (1927), and ''Salute'' (1929) and Columbia's ''Maker of Men'' (filmed in 1930, released in 1931).

Film career

Early career and breakthrough

While working for Fox Film Corporation in bit roles, he was given on-screen credit as "Duke Morrison" only once, in ''Words and Music'' (1929). In 1930, director Raoul Walsh saw him moving studio furniture while working as a prop boy and cast him in his first starring role in ''The Big Trail'' (1930). For his screen name, Walsh suggested "Anthony Wayne", after Revolutionary War general "Mad Anthony" Wayne. Fox Studios chief Winfield Sheehan rejected it as sounding "too Italian". Walsh then suggested "John Wayne". Sheehan agreed, and the name was set. Wayne himself was not even present for the discussion. His pay was raised to $105 a week.

''The Big Trail'' was to be the first big-budget outdoor spectacle of the sound era, made at a staggering cost of over $2 million, using hundreds of extras and wide vistas of the American southwest, still largely unpopulated at the time. To take advantage of the breathtaking scenery, it was filmed in two versions, a standard 35mm version and another in the new 70 mm Grandeur film process using innovative camera and lenses. Many in the audience who saw it in Grandeur stood and cheered. Unfortunately, only a handful of theaters were equipped to show the film in its widescreen process, and the effort was largely wasted. The film was considered a huge flop.

After the commercial failure of ''The Big Trail'', Wayne was relegated to small roles in A-pictures, including Columbia's ''The Deceiver'' (1931), in which he played a corpse. He appeared in the serial ''The Three Musketeers'' (1933), an updated version of the Alexandre Dumas novel in which the protagonists were soldiers in the French Foreign Legion in then-contemporary North Africa. He appeared in many low-budget "Poverty Row" westerns, mostly at Monogram Pictures and serials for Mascot Pictures Corporation. By Wayne's own estimation, he appeared in about eighty of these horse operas from 1930 to 1939. In ''Riders of Destiny'' (1933) he became one of the first singing cowboys of film, albeit via dubbing. Wayne also appeared in some of the ''Three Mesquiteers'' westerns, whose title was a play on the Dumas classic. He was mentored by stuntmen in riding and other western skills. He and famed stuntman Yakima Canutt developed and perfected stunts still used today.

Wayne's breakthrough role came with director John Ford's classic ''Stagecoach'' (1939). Because of Wayne's non-star status and track record in low-budget westerns throughout the 1930s, Ford had difficulty getting financing for what was to be an A-budget film. After rejection by all the top studios, Ford struck a deal with independent producer Walter Wanger in which Claire Trevor — a much bigger star at the time — received top billing. ''Stagecoach'' was a huge critical and financial success, and Wayne became a star.

America's entry into World War II resulted in a deluge of support for the war effort from all sectors of society, and Hollywood was no exception. Wayne was exempted from service due to his age (34 at the time of Pearl Harbor) and family status, classified as 3-A (family deferment). He repeatedly wrote to John Ford, asking to be placed in Ford's military unit, but consistently postponed it until "after he finished one more film", Wayne did not attempt to prevent his reclassification as 1-A (draft eligible), but Republic Studios was emphatically resistant to losing him; Herbert J. Yates, President of Republic, threatened Wayne with a lawsuit if he walked away from his contract and Republic Pictures intervened in the Selective Service process, requesting Wayne's further deferment.

Wayne toured U.S. bases and hospitals in the South Pacific for three months in 1943 and 1944. By many accounts, Wayne's failure to serve in the military was the most painful experience of his life. His widow later suggested that his patriotism in later decades sprang from guilt, writing: "He would become a 'superpatriot' for the rest of his life trying to atone for staying home."

Commercial success

Wayne's first color film was ''Shepherd of the Hills'' (1941), in which he co-starred with his longtime friend Harry Carey. The following year, he appeared in his only film directed by Cecil B. DeMille, the Technicolor epic ''Reap the Wild Wind'' (1942), in which he co-starred with Ray Milland and Paulette Goddard; it was one of the rare times he played a character with questionable values. He would appear in more than twenty of John Ford's films throughout the next two decades, including ''She Wore a Yellow Ribbon'' (1949), ''The Quiet Man'' (1952), ''The Searchers'' (1956), ''The Wings of Eagles'' (1957), and ''The Man Who Shot Liberty Valance'' (1962).

In 1949, director Robert Rossen offered the starring role of ''All the King's Men'' to Wayne. Wayne refused, believing the script to be un-American in many ways. Broderick Crawford, who eventually got the role, won the 1949 Oscar for best male actor, ironically beating out Wayne, who had been nominated for ''Sands of Iwo Jima.''

He lost the leading role in ''The Gunfighter'' (1950) to Gregory Peck due to his refusal to work for Columbia Pictures because its chief, Harry Cohn, had mistreated him years before when he was a young contract player. Cohn had bought the project for Wayne, but Wayne's grudge was too deep, and Cohn sold the script to Twentieth Century Fox, which cast Peck in the role Wayne badly wanted but for which he refused to bend.

One of Wayne's most popular roles was in ''The High and the Mighty'' (1954), directed by William Wellman, and based on a novel by Ernest K. Gann. His portrayal of a heroic copilot won widespread acclaim. Wayne also portrayed aviators in ''Flying Tigers (1942),'' ''Flying Leathernecks'' (1951), ''Island in the Sky'' (1953), ''The Wings of Eagles'' (1957), and ''Jet Pilot'' (1957).

''The Searchers'' (1956) continues to be widely regarded as perhaps Wayne's finest and most complex performance. In 2006, ''Premiere Magazine'' ran an industry poll in which Wayne's portrayal of Ethan Edwards was rated the 87th greatest performance in film history. He named his youngest son Ethan after the character.

Later career

John Wayne won a Best Actor Oscar for ''True Grit'' (1969). Wayne was also nominated as the producer of Best Picture for ''The Alamo'' (1960), one of two films he directed. The other was ''The Green Berets'' (1968), the only major film made during the Vietnam War to support the war. During the filming of ''Green Berets'', the Degar or Montagnard people of Vietnam's Central Highlands, fierce fighters against communism, bestowed on Wayne a brass bracelet that he wore in the film and all subsequent films.

An interview Wayne gave in 1971 to ''Playboy'' magazine became a hot topic, as Wayne made headlines for controversial remarks about social issues and race relations in the United States. His comments about the perceived lack of leadership experience among black people and inequities of the past made headlines. In the same interview he expressed his support for the Vietnam War.

His last film was ''The Shootist'' (1976), whose main character, J. B. Books, was dying of cancer — the illness to which Wayne himself succumbed three years later. According to the Internet Movie Database, Wayne played the lead in 142 of his film appearances.

Batjac, the production company co-founded by Wayne, was named after the fictional shipping company Batjak in ''Wake of the Red Witch'' (1948), a film based on the novel by Garland Roark. (A spelling error by Wayne's secretary was allowed to stand, accounting for the variation.) Batjac (and its predecessor, Wayne-Fellows Productions) was the arm through which Wayne produced many films for himself and other stars. Its best-known non-Wayne production was the highly acclaimed ''Seven Men From Now'' (1956), which started the classic collaboration between director Budd Boetticher and star Randolph Scott.

In the ''Motion Picture Herald'' Top Ten Money-Making Western Stars poll, Wayne was listed in 1936 and 1939. He appeared in the similar ''Box Office'' poll in 1939 and 1940. While these two polls are really an indication only of the popularity of series stars, Wayne also appeared in the ''Top Ten Money Makers Poll'' of all films from 1949 to 1957 and 1958 to 1974, taking first place in 1950, 1951, 1954 and 1971. With a total of 25 years on the list, Wayne has more appearances than any other star, beating Clint Eastwood (21) into second place.

In later years, Wayne was recognized as a sort of American natural resource, and his various critics, of his performances and his politics, viewed him with more respect. Abbie Hoffman, the radical of the 1960s, paid tribute to Wayne's singularity, saying, "I like Wayne's wholeness, his style. As for his politics, well — I suppose even cavemen felt a little admiration for the dinosaurs that were trying to gobble them up." Reviewing ''The Cowboys'' (1972), Vincent Canby of the ''New York Times'', who did not particularly care for the film, wrote: "Wayne is, of course, marvelously indestructible, and he has become an almost perfect father figure."

Personal life

Wayne was married three times and divorced twice. His wives were Josephine Alicia Saenz, Esperanza Baur, and Pilar Pallete. He had four children with Josephine: Michael Wayne (November 23, 1934 – April 2, 2003), Mary Antonia "Toni" Wayne LaCava (February 25, 1936  — December 6, 2000), Patrick Wayne (born July 15, 1939), and Melinda Wayne Munoz (born December 3, 1940). He had three more children with Pilar: Aissa Wayne (born March 31, 1956), John Ethan Wayne (born February 22, 1962), and Marisa Wayne (born February 22, 1966).

Several of Wayne's children entered the film and television industry; Wayne's son Ethan was billed as John Ethan Wayne in a few films, and played one of the leads in the 1990s update of the ''Adam-12'' television series.

His stormiest divorce was from Esperanza Baur, a former Mexican actress. She convinced herself that Wayne and co-star Gail Russell were having an affair. The night the film ''Angel and the Badman'' (1947) wrapped, there was the usual party for cast and crew, and Wayne came home very late. Esperanza was in a drunken rage by the time he arrived, and she attempted to shoot him as he walked through the front door.

Wayne had several high-profile affairs, including one with Marlene Dietrich that lasted for three years. In the years prior to his death, Wayne was romantically involved with his former secretary Pat Stacy (1941–1995). She published a biography of her life with him entitled ''Duke: A Love Story'' in 1983.

Wayne's hair began thinning in the 1940s, and he started wearing a hairpiece by the end of that decade. He was occasionally seen in public without the hairpiece (notably, according to ''Life'' magazine, at Gary Cooper's funeral). During a widely noted appearance at Harvard University, Wayne was asked by a student, "Where did you get that phony hair?" He responded, "It's not phony. It's real hair. Of course, it's not mine, but it's real."

A close friend of Wayne's, California Congressman Alphonzo Bell, wrote of him, "Duke's personality and sense of humor were very close to what the general public saw on the big screen. It is perhaps best shown in these words he had engraved on a plaque: 'Each of us is a mixture of some good and some not so good qualities. In considering one's fellow man it's important to remember the good things ... We should refrain from making judgments just because a fella happens to be a dirty, rotten SOB.'"

Wayne biographer Michael Munn chronicled Wayne's drinking habits. According to Sam O'Steen's memoir, ''Cut to the Chase'', studio directors knew to shoot Wayne's scenes before noon, because by afternoon he "was a mean drunk". He had been a chain-smoker of cigarettes since young adulthood and was diagnosed with lung cancer in 1964. He underwent successful surgery to remove his entire left lung and four ribs. Despite efforts by his business associates to prevent him from going public with his illness for fear that it would cost him work, Wayne announced he had cancer and called on the public to get preventive examinations. Five years later, Wayne was declared cancer-free. Despite the fact that his diminished lung capacity left him incapable of prolonged exertion and frequently in need of supplemental oxygen, within a few years of his operation he chewed tobacco and began smoking cigars until the day he died.

Wayne's height has been perennially described as at least 6'4" (193 cm). He was a Freemason, a Master Mason in Marion McDaniel Lodge #56 F&AM;, in Tucson, Arizona. He became a 32nd Degree Scottish Rite Mason and later joined the Al Malaikah Shrine Temple in Los Angeles. He became a member of the York Rite. During the early 1960s, John Wayne traveled extensively to Panama, during which he purchased the island of Taborcillo off the main coast. It was sold by his estate at his death and changed hands many times before being opened as a tourist attraction.

Wayne's yacht, the ''Wild Goose'', was one of his favorite possessions. He kept it docked in Newport Harbor and it was listed on the U.S. National Register of Historic Places in 2011.

Politics

Throughout most of his life, Wayne was a vocally prominent conservative Republican. Initially a self-described socialist during his college years, he voted for Democratic President Franklin D. Roosevelt in the 1936 presidential election and expressed admiration for Roosevelt's successor, fellow Democratic President Harry S Truman. He took part in creating the Motion Picture Alliance for the Preservation of American Ideals in February 1944 and was elected president of that organization in 1947. An ardent anti-communist and vocal supporter of the House Un-American Activities Committee, in 1952 he made ''Big Jim McLain'' to show his support for the anti-communist cause. Recently declassified Soviet documents reveal that despite being a fan of Wayne's movies, Soviet premier Joseph Stalin ordered Wayne's assassination as a result of his frequently-espoused anti-communist politics.

Wayne supported Vice President Richard Nixon in the presidential election of 1960, but expressed his vision of patriotism when John F. Kennedy won the election: "I didn't vote for him but he's my president, and I hope he does a good job." He used his iconic star power to support conservative causes, including rallying support for the Vietnam War by producing, co-directing, and starring in the critically panned ''The Green Berets'' in 1968. In a 1971 interview with ''Playboy'' magazine Wayne responded to questions about whether entitlement programs including Medicare and Social Security were good for the country:

I know all about that. In the late Twenties, when I was a sophomore at USC, I was a socialist myself — but not when I left. The average college kid idealistically wishes everybody could have ice cream and cake for every meal. But as he gets older and gives more thought to his and his fellow man's responsibilities, he finds that it can't work out that way — that some people just won't carry their load ... I believe in welfare — a welfare work program. I don't think a fella should be able to sit on his backside and receive welfare. I'd like to know why well-educated idiots keep apologizing for lazy and complaining people who think the world owes them a living. I'd like to know why they make excuses for cowards who spit in the faces of the police and then run behind the judicial sob sisters. I can't understand these people who carry placards to save the life of some criminal, yet have no thought for the innocent victim.

Due to his enormous popularity and his status as the most famous Republican star in Hollywood, wealthy Texas Republican Party backers asked Wayne to run for national office in 1968, as had his friend and fellow actor Senator George Murphy. He declined, joking that he did not believe the public would seriously consider an actor in the White House. Instead he supported his friend Ronald Reagan's runs for Governor of California in 1966 and 1970. He was asked to be the running mate for Democratic Alabama Governor George Wallace in 1968, rejecting the offer and actively campaigned for Richard Nixon; Wayne addressed the Republican National Convention on its opening day in August 1968. He was also a member of the conservative, anti-communist John Birch Society.

Wayne openly differed with the Republican Party over the issue of the Panama Canal, as he supported the Panama Canal Treaty in the mid-1970s; conservatives had wanted the U.S. to retain full control of the canal, but Wayne believed that the Panamanians had the right to the canal and sided with President Jimmy Carter and the Democrats. Mr. Wayne was a close friend of the late Panamanian leader Omar Torrijos Herrera and Wayne's first wife, Josephine, was a native of Panama.

Death

Although he enrolled in a cancer vaccine study in an attempt to ward off the disease, John Wayne died of stomach cancer on June 11, 1979, at the UCLA Medical Center, and was interred in the Pacific View Memorial Park cemetery in Corona del Mar. According to his son Patrick and his grandson Matthew Muñoz, a priest in the California Diocese of Orange, he converted to Roman Catholicism shortly before his death. He requested his tombstone read "Feo, Fuerte y Formal", a Spanish epitaph Wayne described as meaning "ugly, strong and dignified". However, the grave, unmarked for twenty years, is now marked with a quotation from his controversial 1971 ''Playboy'' interview: "Tomorrow is the most important thing in life. Comes into us at midnight very clean. It's perfect when it arrives and it puts itself in our hands. It hopes we've learned something from yesterday."

Among the 220 or so cast and crew who filmed the 1956 film, ''The Conqueror'', on location near St. George, Utah, 91 at various times developed some form of cancer (41%), including stars Wayne, Susan Hayward, and Agnes Moorehead, and director Dick Powell. The film was shot in southwestern Utah, east of and generally downwind from the site of recent U.S. Government nuclear weapons tests in southeastern Nevada. Although the 41% incidence of cancer in the cast and crew is very close to that of the general population, many contend radioactive fallout from these tests contaminated the film location and poisoned the film crew working there. Despite the suggestion that Wayne's 1964 lung cancer and his 1979 stomach cancer resulted from nuclear contamination, he himself believed his lung cancer to have been a result of his six-pack-a-day cigarette habit.

Legacy

Awards, celebrations, and landmarks

John Wayne's enduring status as an iconic American was formally recognized by the U.S. government by awarding him the two highest civilian decorations. He was recognized by the United States Congress on May 26, 1979, when he was awarded the Congressional Gold Medal. Hollywood figures and American leaders from across the political spectrum, including Maureen O'Hara, Elizabeth Taylor, Frank Sinatra, Mike Frankovich, Katharine Hepburn, General and Mrs. Omar Bradley, Gregory Peck, Robert Stack, James Arness, and Kirk Douglas, testified to Congress of the merit and deservedness of this award. Most notable was the testimony of Robert Aldrich, then president of the Directors Guild of America, who said:

"It is important for you to know that I am a registered Democrat and, to my knowledge, share none of the political views espoused by Duke. However, whether he is ill disposed or healthy, John Wayne is far beyond the normal political sharp shooting in this community. Because of his courage, his dignity, his integrity, and because of his talents as an actor, his strength as a leader, his warmth as a human being throughout his illustrious career, he is entitled to a unique spot in our hearts and minds. In this industry, we often judge people, sometimes unfairly, by asking whether they have paid their dues. John Wayne has paid his dues over and over, and I'm proud to consider him a friend and am very much in favor of my Government recognizing in some important fashion the contribution that Mr. Wayne has made."

On June 9, 1980, Wayne was posthumously awarded the Presidential Medal of Freedom by President Jimmy Carter, at whose inaugural ball Wayne had appeared "as a member of the loyal opposition," as Wayne described it in his speech to the gathering.

Various public locations are named in honor of Wayne, including the John Wayne Airport in Orange County, California, where a nine-foot bronze statue of him stands at the entrance; the John Wayne Marina that Wayne bequeathed the land for, near Sequim, Washington; John Wayne Elementary School (P.S. 380) in Brooklyn, New York, which boasts a 38-foot mosaic mural commission by New York artist Knox Martin entitled "John Wayne and the American Frontier"; and a 100-plus-mile trail named the "John Wayne Pioneer Trail" in Washington state's Iron Horse State Park. A larger than life-size bronze statue of Wayne atop a horse was erected at the corner of La Cienega Boulevard and Wilshire Boulevard in Beverly Hills, California at the former offices of the Great Western Savings & Loan Corporation, for whom Wayne had made a number of commercials. In the city of Maricopa, Arizona, part of Arizona State Route 347 is named John Wayne Parkway, which runs through the center of town.

In 2006, friends of Wayne's and his former Arizona business partner, Louis Johnson, inaugurated the "Louie and the Duke Classics" events benefiting the John Wayne Cancer Foundation and the American Cancer Society. The weekend long event each fall in Casa Grande, Arizona includes a golf tournament, an auction of John Wayne memorabilia and a team roping competition.

Several celebrations took place on May 26, 2007, the centennial of Wayne's birth. A celebration at the John Wayne birthplace in Winterset, Iowa, included chuck-wagon suppers, concerts by Michael Martin Murphey and Riders in the Sky, a Wild West Revue in the style of Buffalo Bill's Wild West show, and a Cowboy Symposium with Wayne's co-stars, producers, and costumer. Wayne's films ran repetitiously at the local theater. Ground was broken for the New John Wayne Birthplace Museum and Learning Center at a ceremony consisting of over 30 of Wayne's family members, including Melinda Wayne Munoz, Aissa, Ethan and Marisa Wayne. Later that year California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Wayne into the California Hall of Fame, located at The California Museum for History, Women and the Arts.

Cultural image as an American icon

Wayne rose beyond the typical recognition for a famous actor to that of an enduring icon who symbolized and communicated American values and ideals. By the middle of his career, Wayne had developed a larger-than-life image, and as his career progressed, he selected roles that would not compromise his off-screen image. By the time of his last film ''The Shootist'' (1976), Wayne refused to allow his character to shoot a man in the back as was originally scripted, saying "I've made over 250 pictures and have never shot a guy in the back. Change it."

Wayne's rise to being the quintessential movie war hero began to take shape four years after World War II, when ''Sands of Iwo Jima'' (1949) was released. His footprints at Grauman's Chinese theater in Hollywood were laid in concrete that contained sand from Iwo Jima. His status grew so large and legendary that when Japanese Emperor Hirohito visited the United States in 1975, he asked to meet John Wayne, the symbolic representation of his country's former enemy.

Wayne was a popular visitor to the war zones in World War II, Korea, and Vietnam. By the 1950s, perhaps in large part due to the military aspect of films such as the ''Sands of Iwo Jima'', ''Flying Tigers'', ''They Were Expendable'', and the Ford cavalry trilogy, Wayne had become an icon to all the branches of the United States Armed Forces, even in light of his actual lack of military service. Many veterans have said their reason for serving was in some part related to watching Wayne's movies. His name is attached to various pieces of gear, such as the P-38 "John Wayne" can opener, so named because "it can do anything", paper towels known as "John Wayne toilet paper" because "it's rough and it's tough and don't take shit off no one," and C-ration crackers are called "John Wayne crackers" because presumably only someone as tough as Wayne could eat them. A rough and rocky mountain pass used by military tanks and jeeps at Fort Irwin in San Bernardino County, California, is aptly named "John Wayne Pass".

Wayne is the only actor to appear in every edition of the annual Harris Poll of Most Popular Film Actors, and the only deceased actor to appear on the list after his death. Wayne has been in the top ten in this poll for 19 consecutive years, starting 15 years after his death in 1979.

Missed roles

John Wayne desperately wanted the role of "Jimmy Ringo" in the 1950 film ''The Gunfighter,'' directed by Henry King, but the role went to Gregory Peck instead. John Wayne's final film, ''The Shootist'' (1976), directed by Don Siegel was very similar to ''The Gunfighter.'' An urban legend has it that John Wayne was offered the leading role of Matt Dillon in the longtime favorite television show ''Gunsmoke'', but he turned it down, recommending instead James Arness for the role. The only part of this story that is true is that Wayne did indeed recommend Arness for the part. Wayne introduced Arness in a prologue to the first episode of ''Gunsmoke''. Wayne was approached by Mel Brooks to play the part of the Waco Kid in the film ''Blazing Saddles.'' After reading the script he said, "I can't be in this picture, it's too dirty ... but I'll be the first in line to see it."

He reportedly had initially strongly considered taking the role of Major Reisman in ''The Dirty Dozen'', even asking MGM to make changes to the script to accommodate him. But ultimately, he turned it down to make ''The Green Berets''. The role went to Lee Marvin.

Wayne had lobbied to play the lead in ''Dirty Harry'', but Warner Bros. felt that at age 63, he was too old for the role. The role eventually went to Clint Eastwood.

Awards and nominations

Academy Award

Wayne was nominated for three Academy Awards, which are presented annually by the American Academy of Motion Picture Arts and Sciences (AMPAS) to recognize excellence in the film industry, winning one of them.

Best Actor

{| |- | The winner for each year is highlighted in yellow. |}

[[1969 in film
! Actor	! Film	! Actor	! Film
		[[Richard Burton">1949 in film
	[[1969 in film
! Actor	! Film	! Actor	! Film
		[[Richard Burton	''Anne of the Thousand Days''
Kirk Douglas		Dustin Hoffman	''Midnight Cowboy'' Best Picture
Gregory Peck	''Twelve O'Clock High''	Peter O'Toole
Richard Todd	''The Hasty Heart''	Jon Voight	''Midnight Cowboy'' Best Picture
John Wayne	''Sands of Iwo Jima''		style="background:yellow;"

Producer

{| class=wikitable | style="text-align:center; background:lightsteelblue;" colspan="2"|- 1960 - |- ! Producer ! Film |- | Bernard Smith | ''Elmer Gantry'' |- | Jerry Wald | ''Sons and Lovers'' |- | John Wayne | ''The Alamo'' |- style="background:yellow;" ||Billy Wilder ||''The Apartment'' |- | Fred Zinnemann | ''The Sundowners'' |}

Golden Globe

The Golden Globe Awards are presented annually by the Hollywood Foreign Press Association (HFPA) to recognize outstanding achievements in the entertainment industry, both domestic and foreign, and to focus wide public attention upon the best in motion pictures and television. Wayne won a Golden Globe Award for his performance in "True Grit".

The Cecil B. DeMille Award for lifetime achievement in motion pictures is an annual award given by the Hollywood Foreign Press Association at the Golden Globe Award ceremonies in Hollywood, California. It was named in honor of Cecil B. DeMille (1881–1959), one of the industry's most successful filmmakers; John Wayne won this particular award in 1966.

Filmography

See also

Hall of Great Western Performers

List of film director and actor collaborations

National Cowboy & Western Heritage Museum

Red Scare

References

Further reading

Baur, Andreas, and Bitterli, Konrad. "Brave Lonesome Cowboy. Der Mythos des Westerns in der Gegenwartskunst oder: John Wayne zum 100. Geburtstag". Verlag für moderne Kunst Nürnberg. Nuremberg 2007 ISBN 978-3-939738-15-2.

Roberts, Randy, and James S. Olson. ''John Wayne: American''. New York: Free Press, 1995 ISBN 978-0-02-923837-0.

Campbell, James T. "Print the Legend: John Wayne and Postwar American Culture". ''Reviews in American History'', Volume 28, Number 3, September 2000, pp. 465–477.

Shepherd, Donald, and Robert Slatzer, with Dave Grayson. ''Duke: The Life and Times of John Wayne''. New York: Doubleday, 1985 ISBN 0-385-17893-X.

Carey, Harry Jr. ''A Company of Heroes: My Life as an Actor in the John Ford Stock Company''. Lanham, Maryland: Scarecrow Press, 1994 ISBN 0-8108-2865-0.

Clark, Donald & Christopher Anderson. ''John Wayne's The Alamo: The Making of the Epic Film''. New York: Carol Publishing Group, 1995 ISBN 0-8065-1625-9. (pbk.)

Eyman, Scott. ''Print the Legend: The Life and Times of John Ford''. New York: Simon & Schuster, 1999 ISBN 0-684-81161-8.

McCarthy, Todd. ''Howard Hawks: The Grey Fox of Hollywood''. New York: Grove Press, 1997 ISBN 0-8021-1598-5.

Maurice Zolotow., ''Shooting Star: A Biography of John Wayne''. New York: Simon & Schuster, 1974 ISBN 0-671-82969-6.

Jim Beaver, "John Wayne". ''Films in Review'', Volume 28, Number 5, May 1977, pp. 265–284.

McGivern, Carolyn. ''John Wayne: A Giant Shadow''. Bracknell, England: Sammon, 2000 ISBN 0-9540031-0-1.

Davis, Ronald L. ''Duke: The Life and Times of John Wayne''. University of Oklahoma Press, 2001. ISBN 0-8061-3329-5.

Raab, Markus, Beautiful Hearts, Laughers at the World, Bowlers. Worldviews of the Late Western; in: Baur/Bitterli: Brave Lonesome Cowboy. Der Myhos des Westerns in der Gegenwartskunst oder: John Wayne zum 100. Geburtstag, Nuremberg 2007, ISBN 978-3-939738-15-2.

External links

John Wayne Cancer Foundation

John Wayne Cancer Institute

FBI file on John Wayne

Birthplace of John Wayne official website

"On the Set of The Alamo": Behind-the-scenes footage from the production of the film, from the Texas Archive of the Moving Image.

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birth name	Wayne Wright Howard
birth date	March 29, 1949
birth place	Cleveland, Ohio, U.S.
death-date	December 09, 2007
death place	Derby, Connecticut, U.S.
nationality	American
pencil	y
ink	y
notable works	''Midnight Tales'' (Charlton Comics)
spouse	Carol (Zavednak) Howard
subcat	American
death date	December 09, 2007 }}

Wayne Wright Howard (March 29, 1949 – December 9, 2007) was an African-American comic book artist. He is best known for his work in the 1970s at Charlton Comics, where he became American comic books' first series creator known to be credited on covers, with the horror anthology ''Midnight Tales'' announcing "Created by Wayne Howard" on each issue — "a declaration perhaps unique in the industry at the time".

Biography

Early life and career

Wayne Howard was born in Cleveland, Ohio, the son of Sherman and June (Monroe) Howard. He attended Wesleyan University in Middletown, Connecticut, where he earned a bachelor of arts degree. He contributed to comics fanzines in the mid-1960s before becoming an art assistant at the Long Island, New York, studio of influential comics artist Wally Wood circa 1969.

Howard made his credited comics debut as a penciler and inker with writer Marv Wolfman's three-page story "Cain's True Case Files: Grave Results" in DC Comics' ''House of Mystery'' #182 (Oct. 1969). He contributed to later issues, as well as to Major Publications' black-and-white horror-comics magazine ''Web of Horror'' #1 (Dec. 1969).

Charlton Comics

That story marked his first collaboration with Nicola Cuti, a writer and eventual friend who soon afterward became managing editor of Charlton Comics, a Derby, Connecticut, publisher whose comic-book line was traditionally low-paying but allowed its writers and artists great creative freedom. Howard began freelancing for Charlton with the story "A Winner's Curse", almost certainly written by uncredited staff writer Joe Gill, in the horror anthology ''Ghost Manor'' #4 (April 1972). Over the next five years, up through the cover and two stories of ''Haunted'' #32 (Oct. 1977), Howard, with a style strongly reminiscent of his mentor Wood, penciled / inked roughly 200 covers and stories — primarily for such supernatural series as the aforementioned and ''Ghostly Haunts'', ''Ghostly Tales'', ''The Many Ghosts of Doctor Graves'', and an issue each of ''Beyond the Grave'' and ''Creepy Things'', and of the gothic horror romance anthology ''Haunted Love''. With writer Cuti, he contributed the backup feature "Travis: The Dragon Killer" in the cult-hit superhero series ''E-Man'' #3 (June 1974).

''Midnight Tales''

Howard's most notable legacy is providing the precedent for comic-book "created by" credits, which became common years later beginning with DC's Vertigo imprint.

Charlton writer-editor Cuti described Howard's credit for the horror anthology ''Midnight Tales'' being granted since "it was his idea, his concept, his everything". This ranged from the horror host Professor Coffin, The Midnight Philosopher, and his niece, Arachne — who in a twist on the horror-host convention would themselves star in a story each issue — to the notion of having each issue be themed: "One time it would be blob monsters, and I wrote three stories about blob monsters, and another time it was vampires ... and that sort of thing". Howard penciled and inked every cover and virtually every story, and occasionally scripted a tale. The three-issue reprint series ''Prof. Coffin'' #19-21 (Oct. 1985 - Feb. 1986) retains the "created by" credit.

The critic Mark Andrew observed of ''Midnight Tales'',

Other work and later career

Howard seldom ventured to other publishers. He penciled a story in Gold Key's TV-series tie-in ''The Twilight Zone'' #46 (Nov. 1972), and inked one story each for Warren Publishing's black-and-white magazines ''Creepy'' and ''Eerie''. He inked the horror-host pages of DC's ''House of Mystery'' #256-257 (Feb.-April 1978) plus a story each in ''Weird War Tales'' #53 (May 1977) and ''Secrets of Haunted House'' #13 (Sept. 1978), and the sword-and-sorcery title ''Warlord'' #64 (Dec. 1982), his last known original comics work. His only major-publisher penciling was a story in DC's ''Weird Mystery Tales'' #4 (Feb. 1973).

For the industry leader Marvel Comics, he inked Rich Buckler's cover and Ross Andru's pencil art adapting Harry Bates' short story "Farewell to the Master" in the science-fiction anthology ''Worlds Unknown'' #3 (Sept. 1973); Gil Kane's Spider-Man / Submariner story in ''Marvel Team-Up'' #14 (Oct. 1973); Val Mayerik's "Thongor! Warrior of Lost Lemuria" feature in ''Creatures on the Loose'' #26 (Nov. 1973); and a Syd Shores story in the black-and-white comics magazine ''Haunt of Horror'' #4 (Nov. 1974).

Howard died at age 58 at the Griffin Hospital in Derby, Connecticut. He lived in Oxford, Connecticut, at the time, married to Carol (Zavednak) Howard.

Personal life

George Wildman, Charlton Comics' editor during the 1970s, described the artist as, "sort of shy. Easy come, easy go", and said Howard had married the sister of one of Wildman's early secretaries. Howard's friend and frequent collaborator Nicola Cuti said the heavily smoking artist "always wore the same outfit: a white shirt, a kind of tan bush jacket, black hat, black pants and black tie. ...I was over at his apartment, and he opened up his closet, and there were 20 white shirts, 20 bush jackets, 20 black pants...." The magazine ''Comic Book Artist'' in 2001 attempted to contact Howard for an issue devoted to Charlton Comics, and reported that while he "apparently still resides in Connecticut", "a third party indicated the artist/writer had no interest in delving into the past".

See also

List of African-American firsts

References

Category:1949 births Category:2007 deaths Category:American comics artists Category:African American artists Category:African American comics creators Category:Deaths from myocardial infarction Category:Wesleyan University alumni

name	Dean Martin
background	solo_singer
birth name	Dino Paul Crocetti
alias	Dean MartinThe King of CoolDinoDino Martini
birth date	June 07, 1917
Birth place	Steubenville, Ohio, U.S.
death date	December 25, 1995
Death place	Beverly Hills, California, U.S.
genre	Big band, easy listening, pop standard, country
years active	1939–1995
occupation	Musician, singer, actor, comedian, film producer
label	Capitol, Reprise }}

Dean Martin (born Dino Paul Crocetti; June 7, 1917 – December 25, 1995) was an American singer, film actor, television star and comedian. Martin's hit singles included "Memories Are Made of This", "That's Amore", "Everybody Loves Somebody", "You're Nobody till Somebody Loves You", "Sway", "Volare" and "Ain't That a Kick in the Head?". Nicknamed the "King of Cool", he was one of the members of the "Rat Pack" and a major star in four areas of show business: concert stage/night clubs, recordings, motion pictures, and television.

Early life

Martin was born in Steubenville, Ohio, to Italian parents, Gaetano and Angela Crocetti (née Barra). His father was from Montesilvano, Pescara, Abruzzo, Italy, and his mother was an Italian of part Neapolitan and part Sicilian ancestry. Martin was the younger of two sons. His brother was named Bill. Martin spoke only Italian until he started school. He attended Grant Elementary School in Steubenville, and took up the drums as a hobby as a teenager. He was the target of much ridicule for his broken English and ultimately dropped out of Steubenville High School in the 10th grade because he thought that he was smarter than his teachers. He delivered bootleg liquor, served as a speakeasy croupier, was a blackjack dealer, worked in a steel mill and boxed as welterweight. He grew up a neighbor to Jimmy the Greek.

At the age of 15, he was a boxer who billed himself as "Kid Crochet". His prizefighting years earned him a broken nose (later straightened), a scarred lip, and many sets of broken knuckles (a result of not being able to afford the tape used to wrap boxers' hands). Of his twelve bouts, he would later say "I won all but eleven." For a time, he roomed with Sonny King, who, like Martin, was just starting in show business and had little money. It is said that Martin and King held bare-knuckle matches in their apartment, fighting until one of them was knocked out; people paid to watch. Martin knocked out King in the first round of an amateur boxing match.

Eventually, Martin gave up boxing. He worked as a roulette stickman and croupier in an illegal casino behind a tobacco shop where he had started as a stock boy. At the same time, he sang with local bands, calling himself "Dino Martini" (after the famous Metropolitan Opera tenor, Nino Martini). He got his first break working for the Ernie McKay Orchestra. He sang in a crooning style influenced by Harry Mills (of the Mills Brothers), among others. In the early 1940s, he started singing for bandleader Sammy Watkins, who suggested that he change his name to Dean Martin.

In October 1941, Martin married Elizabeth Anne McDonald. During their marriage (ended by divorce in 1949), they had four children. Martin worked for various bands throughout the early 1940s, mostly on looks and personality until he developed his own singing style. Martin famously flopped at the Riobamba, a high class nightclub in New York, when he followed Frank Sinatra in 1943, but it was the setting for their meeting.

Martin was drafted into the United States Army in 1944 during World War II, serving a year stationed in Akron, Ohio. He was then reclassified as 4-F and was discharged (possibly because of a double hernia; Jerry Lewis referred to the surgery that Martin needed for this in his autobiography).

By 1946, Martin was doing relatively well, but was still little more than an East Coast nightclub singer with a common style, similar to that of Bing Crosby. He drew audiences to the clubs where he played, but he inspired none of the fanatical popularity enjoyed by Sinatra.

Alleged Mafia connections

A biography of Martin titled ''Dean Martin: King of the Road'', by Michael Freedland, alleged that he had links to the Mafia early in his career. According to this book, Martin received help with his singing career from members of the Chicago Outfit, who owned saloons in the city, and later performed in shows hosted by these bosses when he was a star. The mob bosses were Tony Accardo and Sam Giancana. Freedland suggests that Martin felt little sympathy for the Mafia and did small favors for them only if it was not inconvenient for him. Another book, ''The Animal in Hollywood'' by John L. Smith, depicted Martin's longtime friendship with Mafia mobsters Johnny Roselli and Anthony Fiato. Smith suggested that Fiato did many favors for Martin, such as recovering money from two swindlers who had cheated his ex-wife Betty out of thousands of dollars of her alimony.

Career

Teaming with Jerry Lewis

Martin attracted the attention of Metro-Goldwyn-Mayer and Columbia Pictures, but a Hollywood contract was not forthcoming. He met comic Jerry Lewis at the Glass Hat Club in New York, where both men were performing. Martin and Lewis formed a fast friendship which led to their participation in each other's acts and the ultimate formation of a music-comedy team.

Martin and Lewis's official debut together occurred at Atlantic City's 500 Club on July 24, 1946, and they were not well received. The owner, Skinny D'Amato, warned them that if they did not come up with a better act for their second show later that night, they would be fired. Huddling together in the alley behind the club, Lewis and Martin agreed to "go for broke", to throw out the pre-scripted gags and to improvise. Martin sang and Lewis came out dressed as a busboy, dropping plates and making a shambles of both Martin's performance and the club's sense of decorum until Lewis was chased from the room as Martin pelted him with breadrolls. They did slapstick, reeled off old vaudeville jokes, and did whatever else popped into their heads at the moment. This time, the audience doubled over in laughter. This success led to a series of well-paying engagements on the Eastern seaboard, culminating in a triumphant run at New York's Copacabana. Patrons were convulsed by the act, which consisted primarily of Lewis interrupting and heckling Martin while he was trying to sing, and ultimately the two of them chasing each other around the stage and having as much fun as possible. The secret, both said, is that they essentially ignored the audience and played to one another.

The team made its TV debut on the very first broadcast of CBS-TV network's ''Toast of the Town'' (later called ''The Ed Sullivan Show'') with Ed Sullivan and Rodgers & Hammerstein appearing on this same inaugural telecast of June 20, 1948. A radio series commenced in 1949, the same year Martin and Lewis were signed by Paramount producer Hal B. Wallis as comedy relief for the movie ''My Friend Irma''.

Their agent, Abby Greshler, negotiated for them one of Hollywood's best deals: although they received only a modest $75,000 between them for their films with Wallis, Martin and Lewis were free to do one outside film a year, which they would co-produce through their own York Productions. They also had complete control of their club, record, radio and television appearances, and it was through these endeavors that they earned millions of dollars.

In ''Dean & Me'', Lewis calls Martin one of the great comic geniuses of all time. But the harsh comments from the critics, as well as frustration with the formulaic similarity of Martin and Lewis movies, which producer Hal Wallis stubbornly refused to change, led to Martin's dissatisfaction. He put less enthusiasm into the work, leading to escalating arguments with Lewis. They finally could not work together, especially after Martin told his partner he was "nothing to me but a dollar sign". The act broke up in 1956, 10 years to the day from the first official teaming.

Martin's first solo film, ''Ten Thousand Bedrooms'' (1957), was a box office failure. He was still popular as a singer, but with rock and roll surging to the fore, the era of the pop crooner was waning.

Solo career

Never totally comfortable in films, Martin wanted to be known as a real actor. Though offered a fraction of his former salary to co-star in a war drama, ''The Young Lions'' (1957), he was ecstatic to receive the part because it would be a dramatic showcase with the two most intriguing young actors of the period and he could learn from Marlon Brando and Montgomery Clift. Tony Randall already had the part, but talent agency MCA realized that with this movie, Martin would become a triple threat: they could make money from his work in night clubs, movies, and records. Martin replaced Randall and the film turned out to be the beginning of Martin's spectacular comeback. Success would continue as Martin starred alongside Frank Sinatra for the first time in a highly acclaimed Vincente Minnelli drama, ''Some Came Running'' (1958). By the mid '60s, Martin was a top movie, recording, television, and nightclub star, while Lewis' film career declined. Martin was acclaimed for his performance as Dude in ''Rio Bravo'' (1959), directed by Howard Hawks and also starring John Wayne and singer Ricky Nelson. He teamed up again with Wayne in ''The Sons of Katie Elder'' (1965), somewhat unconvincingly cast as brothers.

In 1960, Martin was cast in the motion picture version of the Judy Holliday hit stage play ''Bells Are Ringing''. Martin played a satiric variation of his own womanizing persona as Vegas singer "Dino" in Billy Wilder's comedy ''Kiss Me, Stupid'' (1964) with Kim Novak, and he was not above poking fun at his image in films such as the ''Matt Helm'' spy spoofs of the 1960s, in which he was a co-producer. Indeed, in the second Matt Helm film ''Murderers' Row'' (1966), Helm, about to be executed, receives a last cigarette, and tells the provider, "I'll remember you from the great beyond," continuing ''sotto voce'', "somewhere around Steubenville, I hope." As a singer, Martin copied the styles of Harry Mills (of the Mills Brothers), Bing Crosby, and Perry Como until he developed his own and could hold his own in duets with Sinatra and Crosby. Like Sinatra, he could not read music, but he recorded more than 100 albums and 600 songs. His signature tune, "Everybody Loves Somebody", knocked The Beatles' "A Hard Day's Night" out of the number-one spot in the United States in 1964. This was followed by the similarly-styled "The Door is Still Open to My Heart", which reached number six later that year. Elvis Presley was said to have been influenced by Martin, and patterned "Love Me Tender" after his style. Martin, like Elvis, was influenced by country music. By 1965, some of Martin's albums, such as ''Dean "Tex" Martin,'' ''The Hit Sound Of Dean Martin,'' ''Welcome To My World'' and ''Gentle On My Mind'' were composed of country and western songs made famous by artists like Johnny Cash, Merle Haggard, and Buck Owens. Martin hosted country performers on his TV show and was named "Man Of the Year" by the Country Music Association in 1966. "Ain't That a Kick in the Head", a song Martin performed in ''Ocean's 11'' that never became a hit at the time, has enjoyed a spectacular revival in the media and pop culture.

For three decades, Martin was among the most popular acts in Las Vegas. Martin sang and was one of the smoothest comics in the business, benefiting from the decade of raucous comedy with Lewis. Martin's daughter, Gail, also sang in Vegas and on his TV show, co-hosting his summer replacement series on NBC. Though often thought of as a ladies' man, Martin spent a lot of time with his family; as second wife Jeanne put it, prior to the couple's divorce, "He was home every night for dinner."

The Rat Pack

As Martin's solo career grew, he and Frank Sinatra became close friends. In the late 1950s and early 1960s, Martin and Sinatra, along with friends Joey Bishop, Peter Lawford, and Sammy Davis, Jr. formed the legendary Rat Pack, so called by the public after an earlier group of social friends, the Holmby Hills Rat Pack centered on Humphrey Bogart and Lauren Bacall, of which Sinatra had been a member. The Martin-Sinatra-Davis-Lawford-Bishop group referred to themselves as "The Summit" or "The Clan" and never as "The Rat Pack", although this has remained their identity in the popular imagination. The men made films together, formed an important part of the Hollywood social scene in those years, and were politically influential (through Lawford's marriage to Patricia Kennedy, sister of President John F. Kennedy).

The Rat Pack were legendary for their Las Vegas Strip performances. For example, the marquee at the Sands Hotel might read DEAN MARTIN---MAYBE FRANK---MAYBE SAMMY. Las Vegas rooms were at a premium when the Rat Pack would appear, with many visitors sleeping in hotel lobbies or cars to get a chance to see the three men together. Their appearances were unprecedentedly valuable because the city would always become flooded with high rollers, wealthy gamblers who would routinely leave substantial fortunes in the casinos' coffers. Their act (always in tuxedo) consisted of each singing individual numbers, duets and trios, along with much seemingly improvised slapstick and chatter. In the socially-charged 1960s, their jokes revolved around adult themes, such as Sinatra's infamous womanizing and Martin's legendary drinking, as well as many at the expense of Davis's race and religion. Davis famously practiced Judaism and used Yiddish phrases onstage, eliciting much merriment from both his stage-mates and his audiences. It was all good-natured male bonding, never vicious, rarely foul-mouthed, and the three had great respect for each other. The Rat Pack was largely responsible for the integration of Las Vegas. Sinatra and Martin were active supporters of the Civil Rights Movement and refused to perform in clubs that would not allow African-American or Jewish performers.

Posthumously, the Rat Pack has experienced a popular revival, inspiring the George Clooney/Brad Pitt "Ocean's" trilogy.

The Dean Martin Celebrity Roast

In 1965, Martin launched his weekly NBC comedy-variety series, ''The Dean Martin Show'', which exploited his public image as a lazy, carefree boozer. There he perfected his famous laid-back persona of the half-drunk crooner suavely hitting on beautiful women with hilarious remarks that would get anyone else slapped, and making snappy if slurred remarks about fellow celebrities during his famous roasts. During an interview he stated, and this may have been tongue-in-cheek, that he had someone record them on cassette tape so he could listen to them; this is evidenced by his comments to this effect on the British TV documentary 'Wine, Women and Song' which was aired in 1983.

The TV show was a success. Martin prided himself on memorizing whole scripts – not merely his own lines. He disliked rehearsing because he firmly believed his best performances were his first. The show's loose format prompted quick-witted improvisation from Martin and the cast. On occasion, he made remarks in Italian, some mild obscenities that brought angry mail from offended, Italian-speaking viewers. This prompted a battle between Martin and NBC censors, who insisted on more scrutiny of the show's content. The show was often in the Top Ten. Martin, deeply appreciative of the efforts of the show's producer, his friend Greg Garrison, later made a handshake deal giving Garrison, a pioneer TV producer in the 1950s, 50% ownership of the show. However, the validity of that ownership is currently the subject of a lawsuit brought by NBC Universal.

Despite Martin's reputation as a heavy drinker – a reputation perpetuated via his vanity license plates reading "DRUNKY" – he was remarkably self-disciplined. He was often the first to call it a night, and when not on tour or on a film location, liked to go home to see his wife and children. Phyllis Diller has said that Martin was indeed drinking alcohol onstage and not apple juice. She also commented that although he was not drunk, he was not really sober either, but had very strict rules when it came to performances. He borrowed the lovable-drunk shtick from Joe E. Lewis, but his convincing portrayals of heavy boozers in ''Some Came Running'' and Howard Hawks's ''Rio Bravo'' led to unsubstantiated claims of alcoholism. More often than not, Martin's idea of a good time was playing golf or watching TV, particularly westerns – not staying with Rat Pack friends Frank Sinatra and Sammy Davis, Jr. into the early hours of the morning.

Martin starred in and co-produced a series of four Matt Helm superspy comedy adventures. A fifth, ''The Ravagers'', was planned starring Sharon Tate and Martin in a dual role, one as a serial killer, but due to the murder of Tate and the decline of the spy genre, the film was never made.

By the early 1970s, ''The Dean Martin Show'' was still earning solid ratings, and although he was no longer a Top 40 hitmaker, his record albums continued to sell steadily. His name on a marquee could guarantee casinos and nightclubs a standing-room-only crowd. He found a way to make his passion for golf profitable by offering his own signature line of golf balls. Shrewd investments had greatly increased Martin's personal wealth; at the time of his death, Martin was reportedly the single largest minority shareholder of RCA stock. Martin even managed to cure himself of his claustrophobia by reportedly locking himself in the elevator of a tall building and riding up and down for hours until he was no longer panic-stricken.

Now comfortable financially, Martin did not need to work as much and he began reducing his schedule. The final (1973–74) season of his variety show would be retooled into one of celebrity roasts, requiring less of Martin's involvement. After the show's cancellation, NBC continued to air ''The Dean Martin Celebrity Roast'' format in a series of TV specials through 1984. In those 11 years, Martin and his panel of pals successfully ridiculed and made fun of these legendary stars in this order: Ronald Reagan, Hugh Hefner, Ed McMahon, William Conrad, Kirk Douglas, Bette Davis, Barry Goldwater, Johnny Carson, Wilt Chamberlain, Hubert Humphrey, Carroll O'Connor, Monty Hall, Jack Klugman & Tony Randall, Zsa Zsa Gabor, Leo Durocher, Truman Capote, Don Rickles, Ralph Nader, Jack Benny, Redd Foxx, Bobby Riggs, George Washington, Dan Rowan & Dick Martin, Hank Aaron, Joe Namath, Bob Hope, Telly Savalas, Lucille Ball, Jackie Gleason, Sammy Davis Jr, Michael Landon, Evel Knievel, Valerie Harper, Muhammad Ali, Dean Martin, Dennis Weaver, Joe Garagiola, Danny Thomas, Angie Dickinson, Gabe Kaplan, Ted Knight, Peter Marshall, Dan Haggerty, Frank Sinatra, Jack Klugman, Jimmy Stewart, George Burns, Betty White, Suzanne Somers, Joan Collins, and Mr T. For nearly a decade, Martin had recorded as many as four albums a year for Reprise Records. That stopped in November 1974, when Martin recorded his final Reprise album - ''Once In A While,'' released in 1978. His last recording sessions were for Warner Brothers Records. An album titled ''The Nashville Sessions'' was released in 1983, from which he had a hit with "(I Think That I Just Wrote) My First Country Song", which was recorded with Conway Twitty and made a respectable showing on the country charts. A followup single "L.A. Is My Home" / "Drinking Champagne" came in 1985. The 1975 film ''Mr. Ricco'' marked Martin's final starring role, and Martin limited his live performances to Las Vegas and Atlantic City.

Martin seemed to suffer a mid-life crisis. In 1972, he filed for divorce from his second wife, Jeanne. A week later, his business partnership with the Riviera was dissolved amid reports of the casino's refusal to agree to Martin's request to perform only once a night. He was quickly snapped up by the MGM Grand Hotel and Casino, and signed a three-picture deal with MGM Studios. Less than a month after his second marriage had been legally dissolved, Martin married 26-year-old Catherine Hawn on April 25, 1973. Hawn had been the receptionist at the chic Gene Shacrove hair salon in Beverly Hills. They divorced November 10, 1976. He was also briefly engaged to Gail Renshaw, Miss World-U.S.A. 1969.

Eventually, Martin reconciled with Jeanne, though they never remarried. He also made a public reconciliation with Jerry Lewis on Lewis' Labor Day Muscular Dystrophy Association telethon in 1976. Frank Sinatra shocked Lewis and the world by bringing Martin out on stage. As Martin and Lewis embraced, the audience erupted in cheers and the phone banks lit up, resulting in one of the telethon's most profitable years. Lewis reported the event was one of the three most memorable of his life. Lewis brought down the house when he quipped, "So, you working?" Martin, playing drunk, replied that he was "at the Meggum" – this reference to the MGM Grand Hotel convulsed Lewis. This, along with the death of Martin's son Dean Paul Martin a few years later, helped to bring the two men together. They maintained a quiet friendship, but only performed together again once, in 1989, on Martin's 72nd birthday.

Personal life

Martin was married three times. Martin's first wife, Elizabeth Anne McDonald, tried by all accounts to be a good wife and mother to their four children, but her efforts were ultimately undone by her alcoholism . It remains a matter of speculation whether her alcoholism led to the failure of the marriage, or whether Martin's infidelities led to Betty's alcoholism. Subsequent to their divorce, Martin gained custody of their children; Betty lived out her life in quiet obscurity in San Francisco. Their children were Stephen Craig (born June 29, 1942), Claudia Dean (March 16, 1944 - 2001 from breast cancer), Barbara Gail (born April 11, 1945) and Deana (Dina) (born August 19, 1948).

Martin's second wife was Jeanne Biegger. A stunning blonde, Jeanne could sometimes be spotted in Martin's audience while he was still married to Betty. Their marriage lasted 24 years (1949–1973) and produced three children. Their children were Dean Paul (November 17, 1951 - March 21, 1987; plane crash), Ricci James (born September 20, 1953) and Gina Caroline (born December 20, 1956), whose marriage made Dean the father-in-law of The Beach Boys' Carl Wilson.

Martin's third marriage, to Catherine Hawn, lasted three years. One of Martin's managers had spotted her at the reception desk of a hair salon on Rodeo Drive, then arranged a meeting. Martin adopted Hawn's daughter, Sasha, but their marriage also failed. Martin initiated divorce proceedings.

Martin's uncle was Leonard Barr, who appeared in several of his shows.

Later years and death

On December 1, 1983 while gambling at the Golden Nugget casino in Atlantic City, Martin and Sinatra intimidated the dealer and several employees into breaking New Jersey law by making the dealer deal the cards by hand instead of from a shoe. Although Sinatra and Martin were implicated as the cause of the violation, neither was fined by the New Jersey Casino Control Commission. The Golden Nugget received a $25,000 fine (which Sinatra paid, stating that it was his responsibility as he and Martin were the cause of the fine) and four employees including the dealer, a supervisor and pit boss were suspended from their jobs without pay.

Martin returned to films briefly with appearances in the two star-laden, yet critically panned Cannonball Run movies. He also had a minor hit single with "Since I Met You Baby" and made his first music video, which appeared on MTV. The video was created by Martin's youngest son, Ricci.

On March 21, 1987, Martin's son, Dean Paul (formerly Dino of the '60s "teeny-bopper" rock group Dino, Desi & Billy), was killed when his F-4 Phantom II jet fighter crashed while flying with the California Air National Guard. A much-touted tour with Davis and Sinatra in 1988 sputtered. On one occasion, he infuriated Sinatra when he turned to him and muttered, "Frank, what the hell are we doing up here?" Martin, who always responded best to a club audience, felt lost in the huge stadiums they were performing in (at Sinatra's insistence), and he was not interested in drinking until dawn after performances. His final Vegas shows were at Bally's Hotel in 1990. There he had his final reunion with Jerry Lewis on his 72nd birthday. Martin's last two TV appearances involved tributes to his former Rat Pack members. On December 8, 1989, he joined many stars of the entertainment industry in Sammy Davis, Jr's 60th anniversary celebration, which aired only a few weeks before Davis died from throat cancer. In December 1990, he congratulated Frank Sinatra on his 75th birthday special.

Martin was diagnosed with lung cancer at Cedars Sinai Medical Center in September 1993, and in early 1995 retired from public life. He died of acute respiratory failure resulting from emphysema at his Beverly Hills home on Christmas morning 1995, at age 78. The lights of the Las Vegas Strip were dimmed in his honor.

Tributes and legacy

In 1996, Ohio Rte. 7, through Steubenville, was rededicated as "Dean Martin Boulevard." Road signs bearing an Al Hirschfeld caricature of Martin's likeness officially designate the stretch, along with a state historical marker, in the Gazebo Park at Route 7 and North Fourth Street.

An annual "Dean Martin Festival" celebration is held in Steubenville. Impersonators, friends and family of Martin, and various entertainers, many of Italian ancestry, appear.

In 2005, Clark County, Nevada renamed Industrial Road as Dean Martin Drive. A similarly named street was dedicated in 2008 in Rancho Mirage, California.

Martin's family was presented a gold record in 2004 for ''Dino: The Essential Dean Martin'', his fastest-selling album ever, which also hit the iTunes Top 10. For the week ending December 23, 2006, the Dean Martin and Martina McBride duet of "Baby, It's Cold Outside" reached #7 on the R&R; AC chart. It also went to #36 on the R&R; Country chart - the last time Martin had a song this high in the charts was in 1965, with the song "I Will", which reached #10 on the Pop chart.

An album of duets, ''Forever Cool'', was released by Capitol/EMI in 2007. It features Martin's voice with Kevin Spacey, Shelby Lynne, Joss Stone, Big Bad Voodoo Daddy, Robbie Williams, McBride and others.

His footprints were immortalized at Grauman's Chinese Theater in 1964. Martin has three stars on the Hollywood Walk of Fame: one at 6519 Hollywood Boulevard, for movies; one at 1617 Vine, for recordings; and one at 6651 Hollywood Boulevard, for television.

In February 2009, Martin was honored with a posthumous Grammy Lifetime Achievement Award. Four of his surviving children, Gail, Deana, Ricci and Gina, were on hand to accept on his behalf. In 2009, Martin was inducted into the Hit Parade Hall of Fame.

Popular culture

A number of Dean Martin songs have constantly been featured across popular culture for decades. Hit songs such as "Ain't That a Kick in the Head", "Sway","You're Nobody Till Somebody Loves You", "That's Amore", and Martin's signature song "Everybody Loves Somebody" (and many more) have been used in films (such as the Oscar-winning ''Logorama'', ''A Bronx Tale'', ''Casino'', ''Goodfellas'', ''Payback'', and ''Return to Me''), television series (such as ''American Dad!'', ''Friends'', and ''House MD''), video games (such as ''The Godfather: The Game'', ''The Godfather II'', ''Fallout: New Vegas'', and ''Mafia II''), and even fashion shows (such as the Victoria's Secret Fashion Show 2008).

In film and television

In a 1996 episode of the NBC-TV series ''Boston Common'', actor Anthony Clark pantomimes and dances a routine to Martin's 1960 song, "Ain't That A Kick In The Head?"

In That '70s show episode, S-6/E-2 "Join Together." When the Forman's were throwing away all of their bad foods and drinks, because of Red's Heart Attack. Red's beloved beer and his meats were taken away and Red's Fresh mouth son, Eric said,"Whoa look at this, it looks like Dean Martin exploded!"

In the movie ''A Bronx Tale'', Martin's song, "Ain't That A Kick In The Head?", was featured during the scene when C was playing dice.

A Budweiser TV commercial that premiered during Super Bowl XLI featured Martin's "Ain't That A Kick In The Head?".

British actor Jeremy Northam portrayed the entertainer in a made-for-TV movie called, ''Martin and Lewis'', alongside Will & Grace's Sean Hayes as Jerry Lewis.

Martin was portrayed by Joe Mantegna in an HBO movie about Sinatra and Martin titled ''The Rat Pack''. Mantegna was nominated for both an Emmy Award and a Golden Globe Award for the role.

In the movie ''Return to Me'', three of his recordings are featured: "Good Morning, Life," "Buona Sera" and "Return to Me".

Danny Gans portrayed Martin in the miniseries ''Sinatra''.

In the pilot episode of ''White Collar'', Peter refers to Neal as "Dino", referencing the newly-found Sy Devore suits that Neal now wears – made famous by the "Rat Pack".

In the movie ''Pulp Fiction'', Mia Wallace and Vincent Vega go out to dinner at "Jack Rabbit Slim's" – she chooses "Martin and Lewis", and a $5 milkshake shows up.

In the movie ''Moonstruck'', Martin's recording of "That's Amore" plays over both the opening and closing credits.

In the HBO television series, ''The Sopranos'', in season 6 episode "Johnny Cakes", "That's Amore" is heard when Vito Spatafore is cooking.

In the Wong Kar-Wai movie ''2046'', Martin's recording of "Sway" is played extensively.

In a Royal Automobile Club commercial, "Memories are Made of This" is sung.

In the 2009, 60's-era French parody film, "''OSS 117: Rio Ne Répond Plus''... (Lost in Rio)" starring Jean Dujardin, Martin's "Gentle On My Mind" plays during the opening credits scene

In the 2011 film, "Mission Impossible 4" Martin's song "Ain't That A Kick In The Head?" is used by Cruise to arouse his fellow prisoner's into a riot.

In games and gambling

Martin is the subject of "Dean Martin's Wild Party", a video slot machine found in some casinos. The game features songs sung by Martin during the bonus game and the count-up of a player's winnings.

The 2010 video game, ''Fallout: New Vegas'', features Martin's "Ain't that a Kick in the Head?" throughout the game. It can be listened to on the "New Vegas" radio channel and heard on the loud speakers when entering the Vegas Strip. The first quest of the game is named after the same song, as the player character is afflicted with a headshot wound.

Dean Martin's music is featured on the radios in the video games ''Mafia II'' and ''Godfather II''.

In music

A compilation album called, ''Amore!'', debuted at Number One on ''Billboard magazine'''s Top Pop Catalog Albums chart in its February 21, 2009 issue.

Other

In the Victoria's Secret Fashion Show 2008, "Ain't That A Kick In The Head?" was the opening song from the show.

Discography

Filmography

Year	Film	Role	Notes
1946	''Film Vodvil: Art Mooney and Orchestra''		Short
1949		Steve Laird
	''My Friend Irma Goes West''	Steve Laird
''At War with the Army''	1st Sgt. Vic Puccinelli
''Screen Snapshots: Thirtieth Anniversary Special''		Short
1951		Bill Baker
		Al Crowthers
''Jumping Jacks''	Corp. Chick Allen
''Road to Bali''	Man in Lala's dream	Cameo (uncredited)
''The Stooge''	Bill Miller
		Larry Todd
''The Caddy''	Joe Anthony
''Money from Home''	Herman 'Honey Talk' Nelson
	''Living It Up''	Dr. Steve Harris
''3 Ring Circus''	Peter 'Pete' Nelson
	''You're Never Too Young''	Bob Miles
''Artists and Models''	Rick Todd
	''Screen Snapshots: Hollywood, City of Stars''		Short
''Pardners''	Slim Mosely Jr. / Slim Mosely Sr.
''Hollywood or Bust''	Steve Wiley
1957	''Ten Thousand Bedrooms''	Ray Hunter
	''The Young Lions''	Michael Whiteacre
''Some Came Running''	Bama Dillert (professional gambler)
		Dude ('Borachón')
	Maurice 'Maury' Novak
	''Who Was That Lady?''	Michael Haney	Nominated – Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
	Jeffrey Moss
	Sam Harmon
		Cameo
		Tony Ryder
	Bo Gillis
	''Something's Got to Give''	Nicholas 'Nick' Arden	(unfinished)
''Sergeants 3''	Sgt. Chip Deal
''The Road to Hong Kong''	The 'Grape' on plutonium	Cameo (uncredited)
''Who's Got the Action?''	Steve Flood
	''38-24-36''	Self
	The Bum	(uncredited)
	Julian Berniers
''4 for Texas''	Joe Jarrett
''Who's Been Sleeping in My Bed?''	Jason Steel
	''What a Way to Go!''	Leonard 'Lennie' Crawley
''Robin and the 7 Hoods''	Little John
''Kiss Me, Stupid''	Dino
	''The Sons of Katie Elder''	Tom Elder
''Marriage on the Rocks''	Ernie Brewer
		Matt Helm
''Texas Across the River''	Sam Hollis
	Matt Helm
		Alex Flood
	Matt Helm
	''How to Save a Marriage and Ruin Your Life''	David Sloane
''Bandolero!''	Dee Bishop
''Rowan & Martin at the Movies''		Short
''5 Card Stud''	Van Morgan
1969		Matt Helm
1970		Capt. Vernon Demerest
1971	''Something Big''	Joe Baker
1973		Billy Massey
1975	''Mr. Ricco''	Joe Ricco
1981	''The Cannonball Run''	Jamie Blake
	''Cannonball Run II''	Jamie Blake
''Terror in the Aisles''		archival footage

References

Further reading

Arthur Marx. ''Everybody Loves Somebody Sometime (Especially Himself): The story of Dean Martin and Jerry Lewis'', New York, NY: Hawthorn Books, 1974, ISBN 978-0-8015-2430-1

Lewis, Jerry and James Kaplan. ''Dean & Me (A Love Story)''. Doubleday, New York, 2005. ISBN 0-7679-2086-4

Tosches, Nick. ''Dino: Living High in the Dirty Business of Dreams''. Delta Trade Paperbacks, New York, 1992 (1st edition). ISBN 0-385-33429-X

Smith, John L. ''The Animal in Hollywood: Anthony Fiato's Life in the Mafia''. Barricade Books, New York, 1998. ISBN 1-56980-126-6

External links

Dean Martin at The Biography Channel

Cleveland.com: Homegrown Heroes: Dean Martin Timeline

Dean Works the room at the Sands

Dean Martin biography/discography on The Interlude Era site

Radio interview with Deana Martin WSLR

Category:1917 births Category:1995 deaths Category:Actors from Ohio Category:Actors from Pittsburgh, Pennsylvania Category:American baritones Category:American military personnel of World War II Category:American comedians Category:American crooners Category:American film actors Category:American jazz musicians of Italian descent Category:American people of Sicilian descent Category:Burials at Westwood Village Memorial Park Cemetery Category:California Republicans Category:Cancer deaths in California Category:Capitol Records artists Category:Deaths from emphysema Category:Deaths from lung cancer Category:Deaths from respiratory failure Category:Musicians from Ohio Category:Musicians from Pittsburgh, Pennsylvania Category:Ohio Republicans Category:People from Steubenville, Ohio Category:Traditional pop music singers

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name	Louise Brooks
birth name	Mary Louise Brooks
birth date	November 14, 1906
birth place	Cherryvale, Kansas, U.S.
death date	August 08, 1985
death place	Rochester, New York, U.S.
alias	Lulu
occupation	Actress, model, dancer
years active	1925–1938
spouse	}}

Mary Louise Brooks (November 14, 1906 – August 8, 1985), generally known by her stage name Louise Brooks, was an American dancer, model, showgirl and silent film actress, noted for popularizing the bobbed haircut. Brooks is best known as the lead in three feature films made in Europe, including two G. W. Pabst films: ''Pandora's Box'' (1929), ''Diary of a Lost Girl'' (1929), and ''Prix de Beauté'' (''Miss Europe'') (1930). She starred in 17 silent films and, late in life, authored a memoir, ''Lulu in Hollywood''.

Early life

Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any "squalling brats she produced could take care of themselves".

Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music. None of this protected her nine-year old daughter Louise from sexual abuse at the hands of a neighborhood predator. This event had a major influence on Brooks' life and career, causing her to say in later years that she was incapable of real love, and that this man "must have had a great deal to do with forming my attitude toward sexual pleasure....For me, nice, soft, easy men were never enough – there had to be an element of domination". (When Brooks at last told her mother of the incident, many years later, her mother suggested that it must have been Louise's fault for "leading him on".)

Brooks began her entertainment career as a dancer, joining the Denishawn modern dance company in Los Angeles (whose members included founders Ruth St. Denis, and Ted Shawn, as well as a young Martha Graham) in 1922. In her second season with the company, Brooks had advanced to a starring role in one work opposite Shawn. A long-simmering personal conflict between Brooks and St. Denis boiled over one day, however, and St. Denis abruptly fired Brooks from the troupe in 1924, telling her in front of the other members that "I am dismissing you from the company because you want life handed to you on a silver salver". The words left a strong impression on Brooks; when she drew up an outline for a planned autobiographical novel in 1949, "The Silver Salver" was the title she gave to the tenth and final chapter.

Thanks to her friend Barbara Bennett (sister of Constance and Joan), Brooks almost immediately found employment as a chorus girl in George White's Scandals, followed by an appearance as a featured dancer in the 1925 edition of the Ziegfeld Follies on Broadway. As a result of her work in the ''Follies'', she came to the attention of Paramount Pictures producer Walter Wanger, who signed her to a five-year contract with the studio in 1925. (She was also noticed by visiting movie star Charlie Chaplin, who was in town for the premiere of his film ''The Gold Rush''. The two had an affair that summer.)

American film career

Brooks made her screen debut in the silent ''The Street of Forgotten Men'', in an uncredited role in 1925. Soon, however, she was playing the female lead in a number of silent light comedies and flapper films over the next few years , starring with Adolphe Menjou and W. C. Fields, among others.

She was noticed in Europe for her pivotal vamp role in the Howard Hawks directed silent "buddy film", ''A Girl in Every Port'' in 1928.

In an early sound film drama, ''Beggars of Life'' (1928), Brooks played an abused country girl on the run with Richard Arlen and Wallace Beery playing hoboes she meets while riding the rails. Much of this film was shot on location, and the boom microphone was invented for this film by the director William Wellman, who needed it for one of the first experimental talking scenes in the movies.

By this time in her life, she was mixing with the rich and famous, and was a regular guest of William Randolph Hearst and his mistress, Marion Davies, at San Simeon, being close friends with Davies' niece, Pepi Lederer. Her distinctive bob haircut, which became eponymous, and is still recognised to this day, helped start a trend; many women styled their hair in imitation of her and fellow film star Colleen Moore. Soon after the film ''Beggars Of Life'' was made, Brooks, who loathed the Hollywood "scene", refused to stay on at Paramount after being denied a promised raise, and left for Europe to make films for G. W. Pabst, the prominent Austrian Expressionist director.

Paramount attempted to use the coming of sound films to pressure the actress, but she called the studio's bluff. It was not until 30 years later that this rebellious move would come to be seen as arguably the most savvy of her career, securing her immortality as a silent film legend and independent spirit. Unfortunately, while her initial snubbing of Paramount alone would not have finished her in Hollywood altogether, her refusal after returning from Germany to come back to Paramount for sound retakes of ''The Canary Murder Case'' (1929) irrevocably placed her on an unofficial blacklist. Actress Margaret Livingston was hired to dub Brooks's voice for the film, and the studio claimed that Brooks' voice was unsuitable for sound pictures.

In Europe

Once in Germany, she starred in the 1929 film ''Pandora's Box'', directed by Georg Wilhelm Pabst in his New Objectivity period. The film is based on two plays by Frank Wedekind (''Erdgeist'' and ''Die Büchse der Pandora'') and Brooks plays the central figure, Lulu. This film is notorious for its frank treatment of modern sexual mores, including one of the first screen portrayals of a lesbian. Brooks then starred in the controversial social drama ''Diary of a Lost Girl'' (1929), based on the book by Margarete Böhme and also directed by Pabst, and ''Prix de Beauté'' (1930) by Italian author Augusto Genina, the latter being filmed in France, and having a famous surprise ending. All these films were heavily censored, as they were very "adult" and considered shocking in their time for their portrayals of sexuality, as well as their social satire.

Life after film

When she returned to Hollywood in 1931, she was cast in two mainstream films: ''God's Gift to Women'' (1931) and ''It Pays to Advertise'' (1931). Her performances in these films, however, were largely ignored, and few other job offers were forthcoming due to her informal "blacklisting".

Despite this, William Wellman, her director on ''Beggars of Life'', offered her the feminine lead in his new picture, ''The Public Enemy'' starring James Cagney. However, Brooks turned down the role in order to visit her then-lover George Preston Marshall in New York City, and the part instead went to Jean Harlow, who began her own rise to stardom largely as a result. Brooks later explained herself to Wellman by saying that she hated making pictures because she simply "hated Hollywood", and according to film historian James Card, who came to know Brooks intimately later in her life, "she just wasn't interested....She was more interested in Marshall". In the opinion of Brooks's biographer Barry Paris, "turning down ''Public Enemy'' marked the real end of Louise Brooks's film career".

For the rest of her movie career, she was reduced to playing bit parts and roles in B pictures and short films. One of her directors at this time was a fellow Hollywood outcast, Roscoe "Fatty" Arbuckle, working under the pseudonym "William Goodrich". Brooks starred in Arbuckle's Educational Pictures comedy short, ''Windy Riley Goes Hollywood'' (1931).

Brooks retired from the screen after completing one last film, the John Wayne western ''Overland Stage Raiders'' (1938) in which she played the romantic lead with a long hairstyle that rendered her all but unrecognizable from her "Lulu" days. She then briefly returned to Wichita, where she was raised. "But that turned out to be another kind of hell," she said. "The citizens of Wichita either resented me having been a success or despised me for being a failure. And I wasn't exactly enchanted with them. I must confess to a lifelong curse: My own failure as a social creature." After an unsuccessful attempt at operating a dance studio, she returned East and, after brief stints as a radio actor and a gossip columnist, worked as a salesgirl in a Saks Fifth Avenue store in New York City for a few years, then eked out a living as a courtesan with a few select wealthy men as clients. }} Brooks had also been a heavy drinker since age 14, but she remained relatively sober to begin writing about film, which became her second career. During this period she began her first major writing project, an autobiographical novel called ''Naked on My Goat'', a title taken from Goethe's ''Faust''. After working on the novel for a number of years, she destroyed the manuscript by throwing it into an incinerator.

She was a notorious spendthrift for most of her life, even filing for bankruptcy in 1932, but was kind and generous to her friends, almost to a fault. Despite her two marriages, she never had children, referring to herself as "Barren Brooks". Her many lovers from years before had included a young William S. Paley, the founder of CBS. According to ''Louise Brooks: Looking For Lulu'', Paley provided a small monthly stipend to Brooks for the rest of her life, and according to the documentary this stipend kept her from committing suicide at one point. She also had an on-again, off-again relationship with George Preston Marshall throughout the 1920s and 1930s (which she described as "abusive"). He was the biggest reason she was able to secure a contract with Pabst. Marshall repeatedly asked her to marry him and after finding that she had had many affairs while they were together, married film actress Corinne Griffith instead.

Rediscovery

French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon (Henri Langlois: "There is no Garbo, there is no Dietrich, there is only Louise Brooks!"), much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country. James Card, the film curator for the George Eastman House, discovered Louise living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her witty and cogent writings, ''Lulu in Hollywood'', was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, "The Girl With The Black Helmet", the title of which was an allusion to her fabulous bob, worn since childhood, a hairstyle claimed as one of the ten most influential in history by beauty magazines the world over.

She rarely gave interviews, but had special relationships with John Kobal and Kevin Brownlow, the film historians, and they were able to capture on paper some of her personality. In the 1970s she was interviewed extensively, on film, for the documentaries ''Memories of Berlin: The Twilight of Weimar Culture'' (1976), produced and directed by Gary Conklin, and in the ''Hollywood'' series (1980) directed by Kevin Brownlow and David Gill. ''Lulu in Berlin'' (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released a year before her death, but filmed a decade earlier. Author Tom Graves was allowed into Brooks' apartment for an interview in 1982, and later wrote about the at times awkward and tense conversation in his brief book "My Afternoon With Louise Brooks."

As is the case with many of her contemporaries, a number of Brooks' films, according to the documentary ''Looking for Lulu'', are considered to be lost. Her key films survive, however, particularly ''Pandora's Box'' and ''Diary of a Lost Girl'' which have been released to DVD in North America by the Criterion Collection and Kino Video, respectively. As of 2007, ''Prix de Beaute'' and ''The Show Off'' have also seen limited North American DVD release, as well. Her short film (and one of her only talkies), ''Windy Riley Goes Hollywood'' was included on the DVD release of ''Diary of a Lost Girl''. Her final film, ''Overland Stage Raiders'', was released to VHS but has yet to receive a North American DVD release.

Legacy

Brooks had always been very self-directed, even difficult, and was notorious for her salty language, which she didn't hesitate to use whenever she felt like it. In addition, she had made a vow to herself never to smile on stage unless she felt compelled to, and although the majority of her publicity photos show her with a neutral expression, she had a dazzling smile. By her own admission, she was a sexually liberated woman, not afraid to experiment, even posing fully nude for art photography, and her liaisons with many film people were legendary, although much of it is speculation.

Louise Brooks as an unattainable film image served as an inspiration for Adolfo Bioy Casares when he wrote his science fiction novel ''The Invention of Morel'' (1940) about a man attracted to Faustine, a woman who is only a projected 3-D image. In a 1995 interview, Casares explained that Faustine is directly based on his love for Louise Brooks who "vanished too early from the movies". (Elements of ''The Invention of Morel'', minus the science fiction elements, served as a basis for Alain Resnais's 1961 film ''Last Year at Marienbad''.)

Brooks also had an influence in the graphics world – she had the distinction of inspiring two separate comics: the long-running ''Dixie Dugan'' newspaper strip by John H. Striebel that started in the late 1920s and ran until 1966, which grew out of the serialized novel and later stage musical, "Show Girl", that writer J.P. McEvoy had loosely based on Louise's days as a Follies girl on Broadway; and the erotic comic books of ''Valentina'', by the late Guido Crepax, which began publication in 1965 and continued for many years. Crepax became a friend and regular correspondent with Louise late in her life. Hugo Pratt, another comics artist, also used her as inspiration for characters, and even named them after her.

In her 2011 novel of supernatural horror, ''Houdini Heart'', Ki Longfellow uses Brooks as an actual character in the leading character's visions, and Brooks appears as a character in The Chaperone by Laura Morairty, to be released in June 2012.

In an interview with James Lipton on ''Inside the Actors Studio'', Liza Minnelli related her preparation for portraying Sally Bowles in the film ''Cabaret'': "I went to my father, and asked him, what can you tell me about thirties glamour? Should I be emulating Marlene Dietrich or something? And he said no, I should study everything I can about Louise Brooks."

In 1991 the British new wave group Orchestral Manoeuvres in the Dark released a single named "Pandora's Box" as a tribute to Brooks. The video for the single used extensive footage of Brooks from the movie and included a text intro which explained who Brooks was. And, for the 1988 Siouxsie and The Banshees album (''Peepshow'') and tour, singer Siouxsie Sioux sported a hairdo and costumes in Brooks's style.

An exhibit titled "Louise Brooks and the 'New Woman' in Weimar Cinema" ran at the International Center of Photography in New York City in 2007, focusing on Brooks' iconic screen persona and celebrating the hundredth anniversary of her birth.

Personal life

In the summer of 1926, Brooks married Eddie Sutherland, the director of the film she made with Fields, but by 1927 had fallen "terribly in love" with George Preston Marshall, owner of a chain of laundries and future owner of the Washington Redskins football team, following a chance meeting with him that she later referred to as "the most fateful encounter of my life". She divorced Sutherland, mainly due to her budding relationship with Marshall, in June 1928.

In 1933, she married Chicago millionaire Deering Davis, but abruptly left him in March 1934 after only five months of marriage, "without a good-bye... and leaving only a note of her intentions" behind her. According to Card, Davis was just "another elegant, well-heeled admirer", nothing more. The couple officially divorced in 1938.

Brooks enjoyed fostering speculation about her sexuality, cultivating friendships with lesbian and bisexual women including Pepi Lederer and Peggy Fears, but eschewing relationships. She admitted to some lesbian dalliances, including a one-night affair with Greta Garbo. She later described Garbo as masculine but a "charming and tender lover". Despite all this, she considered herself neither lesbian nor bisexual:

Death

On August 8, 1985, Brooks was found dead of a heart attack after suffering from arthritis and emphysema for many years. She was buried in Holy Sepulchre Cemetery in Rochester, New York.

Filmography

+ Film credits
Title	Year	Role	Notes
''The Street of Forgotten Men''	7/1925	A Moll	incomplete (missing reel 7)
''''	1/1926	Miss Bayport	lost film
''''	3/1926	Kitty Laverne	lost film
''It's the Old Army Game''	7/1926	Mildred Marshall
''''	8/1926	Clara
''Just Another Blonde''	12/1926	Diana O'Sullivan	lost film
! scope="row"	3/1926	Janie Walsh
''Evening Clothes''	3/1927	Fox Trot	lost film
''Rolled Stockings''	6/1927	Carol Fleming	lost film
''Now We're in the Air''	10/1927	Griselle/Grisette	lost film
''The City Gone Wild''	11/1927	Snuggles Joy	lost film
''''	2/1928	Marie, Girl in France
	9/1928	The Girl (Nancy)
''''	2/1929	Margaret Odell	sound version only
! scope="row"	1/1929	Lulu
''Diary of a Lost Girl''	9/1929	Thymian
''Prix de Beauté''	1930	Lucienne Garnier
''It Pays to Advertise''	2/1931	Thelma Temple
''God's Gift to Women''	4/1931	Florine
''Windy Riley Goes Hollywood''	5/1931	Betty Grey
''Empty Saddles''	12/1936	"Boots" Boone
''When You're in Love''	2/1937	Chorus Girl	uncredited
''King of Gamblers''	4/1937	Joyce Beaton	scenes deleted
''Overland Stage Raiders''	1938	Beth Hoyt

Notes

References

Böhme, Margarete. ''The Diary of a Lost Girl'' (Louise Brooks edition), PandorasBox Press, 2010. ISBN 978-0-557-50848-8.

Brooks, Louise. ''Fundamentals of Good Ballroom Dancing'', United States: self published, 1940

Brooks, Louise. ''Lulu in Hollywood'', New York: Knopf, 1982

Brooks, Louise. ''Lulu in Hollywood: Expanded Edition'', Minneapolis: University of Minnesota Press, 2000

Cowie, Peter. ''Louise Brooks: Lulu Forever'', New York: Rizzoli, 2006

Graves, Tom. ''My Afternoon With Louise Brooks'', Memphis: Rhythm Oil Books, 2011.

Jaccard, Rolland (editor). ''Louise Brooks: Portrait of an Anti-Star'', New York: New York Zoetrope, 1986

Krenn, Gunter and Moser, Karin (eds.). ''Louise Brooks: Rebellin, Ikone, Legende'', Austria: Film Archiv Austria, 2006

Mollica, Vincenzo. ''Louise Brooks: Una Fiaba Notturna'', Italy: Editori del Grifo, 1984

Oderman, Stuart. ''Talking to the Piano Player 2''. BearManor Media, 2009. ISBN 1-59393-320-7

Pabst, G.W. ''Pandora's Box (Lulu)'', New York: Simon & Schuster, 1971 (1928 script by Pabst)

Paris, Barry. ''Louise Brooks'', New York: Knopf, 1989. ISBN 0-394-55923-1.

Wahl, Jan. ''Dear Stinkpot: Letters From Louise Brooks''. BearManor Media, 2010. ISBN 978-1-59393-474-3

External links

Louise Brooks bibliographies

Louise Brooks interview, circa 1960s

A Louise Brooks interview clip from ''Memories of Berlin: The Twilight of Weimar Culture''

The Louise Brooks portrait doll by Lenci, 1930

Category:1906 births Category:1985 deaths Category:Actors from Kansas Category:American film actors Category:American memoirists Category:American silent film actors Category:Deaths from myocardial infarction Category:People from Montgomery County, Kansas Category:Ziegfeld girls Category:People self-identifying as alcoholics

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