Jean Pierre Hersholt (12 July 1886 – 2 June 1956) was a Danish-born actor who lived in the United States, where he was a leading film and radio talent, best known for his 17 years starring on radio in Dr. Christian and for playing Shirley Temple's grandfather in Heidi.^[2] Asked how to pronounce his name, he told The Literary Digest, "In English, her'sholt; in Danish, hairs'hult."^[3] Of his total credits, 75 were silent films and 65 were sound films. He appeared in 140 films and directed four.

Early life[link]

Hersholt was born in Copenhagen, Denmark, the son of Claire (née Petersen) and Henry Hersholt, actors who worked with the Danish Folk Theatre.^[4] Hersholt toured Europe performing with his family when he was young. He then graduated from the Copenhagen Art School.^[5] His first two films were made in Germany in 1906. He emigrated to the US in 1913, and the remainder of his movies were made in America.

Career[link]

Hersholt's best remembered film roles included Marcus Schouler in Erich von Stroheim's 1924 Greed and Shirley Temple's beloved grandfather in the 1937 film version of the 1880 children's book, Heidi, written by Swiss author Johanna Spyri. During his long career in the movies, his roles ran the gamut from early silent villains to secondary parts in which his mild Danish accent and pleasant voice suited him to depict a succession of benevolent fathers, doctors, professors and European noblemen. Hersholt's last role was in the 1955 movie Run for Cover.

In the trailer for the film Grand Hotel (1932)

In The Country Doctor (1936), a movie starring the Dionne quintuplets, Hersholt portrayed Dr. John Luke, a character based on Dr. Allan Roy Dafoe, the Canadian obstetrician who delivered and cared for the Dionne Quintuplets. Two sequels followed. Hersholt wanted to do the role on radio but could not get the rights. He decided to create his own doctor character for radio, and since he was a Hans Christian Andersen enthusiast, he borrowed that name for his character of the philosophical Dr. Paul Christian who practiced in the Midwest town of River's End with the assistance of Nurse Judy Price. With the opening theme music of "Rainbow on the River", Dr. Christian was introduced on CBS on November 7, 1937 on The Vaseline Program, aka Dr. Christian's Office and later Dr. Christian, sponsored by Chesebrough Manufacturing's Vaseline.

The small-town physician's good humor, innate common sense and scientific training helped drive off a series of villainous types who tried to interfere with the peaceful lifestyle of River's End. Produced by Dorothy McCann, the radio series became a popular long-run hit, continuing on CBS until 6 January 1954, with Hersholt so strongly identified with the role that he received mail asking for medical advice. There were various spin-offs as Hersholt co-wrote a Dr. Christian novel and made a series of six family films as Christian from 1939 to 1941, for instance Dr. Christian Meets the Women in 1940. In 1956, his Dr. Christian character made the transition to television, scripted by Gene Roddenberry, with Macdonald Carey as his nephew Dr. Mark Christian. From the '30s through the '50s, Neil Reagan, brother of Ronald Reagan, directed the radio series Dr. Christian, starring Jean Hersholt.

In 1939 Hersholt helped form the Motion Picture Relief Fund to support industry employees with medical care when they were down on their luck. The fund was used to create the Motion Picture Country House and Hospital in Woodland Hills, California, and it led to the creation in 1956 of the Jean Hersholt Humanitarian Award, an honorary Academy Award given to an "individual in the motion picture industry whose humanitarian efforts have brought credit to the industry".

Hersholt's large collection of Hans Christian Andersen books is now in the Library of Congress. He translated over 160 of Andersen's fairy tales into the English language. These were published in 1949 in six volumes as The Complete Andersen, this work is "... rated as the standard translation, being one of the best" in English.^[6] Hersholt was appointed a knight of the Order of the Dannebrog in 1948, partly due to this endeavour.^[7]

Family[link]

Hersholt was married to his wife, Via, in 1914. They had one child: Allan. He was the paternal half-uncle of the late actor Leslie Nielsen and former Canadian Deputy Prime Minister Erik Nielsen.^[8]

Jean Hersholt's grandson Gregg Hersholt has been a radio news broadcaster in the Pacific Northwest since 1973.

Death[link]

Jean Hersholt's grave

Hersholt died of cancer in Hollywood, Los Angeles, California, and is interred in Forest Lawn Memorial Park Cemetery in Glendale, California. His grave is marked with a statue of Klods-Hans (English: Clumsy Hans), a Hans Christian Andersen character who left home to find his way in the world — much as Hersholt himself had done.^[9]

Honors and awards[link]

Hersholt was honored for his services to the industry twice with an honorary Academy Award, first in 1940 and the second time in 1950, and in his honor the Jean Hersholt Humanitarian Award was named by the Academy of Motion Picture Arts and Sciences.^[10] He has a star on the Hollywood Walk of Fame at 6501 Hollywood Boulevard for his work in motion pictures and another one at 6701 Hollywood Boulevard for his work in radio.

References[link]

External links[link]

• Jean Hersholt at the Internet Movie Database
• Jean Hersholt: The Complete Andersen
• Jerry Haendiges Vintage Radio Logs: Dr. Christian
• Free OTR: Dr. Christian (38 1937-39 episodes)
• Literature on Jean Hersholt

Audrey Hepburn
Hepburn in a studio publicity portrait for 1957 film Love in the Afternoon
Born	Audrey Kathleen Ruston (1929-05-04)4 May 1929 Ixelles, Belgium
Died	20 January 1993(1993-01-20) (aged 63) Tolochenaz, Vaud, Switzerland
Cause of death	Appendiceal cancer
Resting place	Tolochenaz Cemetery, Tolochenaz, Vaud, Switzerland
Nationality	British
Other names	Edda van Heemstra Audrey Kathleen Hepburn-Ruston
Occupation	Actress, humanitarian
Years active	1948–1992
Spouse	Mel Ferrer (1954–1968) Andrea Dotti (1969–1982)
Partner	Robert Wolders (1980–1993; her death)
Children	Sean Hepburn Ferrer Luca Dotti
Parents	Joseph Victor Anthony Ruston (deceased) Ella van Heemstra (deceased)
Awards	List of awards and honours
Signature
Website
www.audreyhepburn.com

Audrey Hepburn (born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian. Although modest about her acting ability, Hepburn remains one of the world's most famous actresses of all time who was ranked as the third greatest female screen legend in the history of American cinema. Remembered as both a film and fashion icon of the twentieth century, Hepburn redefined glamour with "elfin" features and a gamine waif-like figure that inspired designs by Givenchy and earned her place in the International Best Dressed List Hall of Fame.^[1][2][3]

Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England and the Netherlands, including German-occupied Arnhem during the Second World War, where she studied ballet with Sonia Gaskell in Amsterdam before moving to London in 1948 to continue ballet training with Marie Rambert and perform as a chorus girl in West End musical theatre productions.

After appearing in several British films and starring in the 1951 Broadway play Gigi, Hepburn gained instant Hollywood stardom for playing the Academy Award-winning lead role in Roman Holiday (1953). Later performing in Sabrina (1954), The Nun's Story (1959), Breakfast at Tiffany's (1961), Charade (1963), My Fair Lady (1964) and Wait Until Dark (1967), Hepburn became one of the great screen actresses of Hollywood's Golden Age who received Academy Award, Golden Globe and BAFTA nominations and accrued a Tony Award for her theatrical performance in the 1954 Broadway play Ondine. Hepburn remains one of few people who have won Academy, Emmy, Grammy, and Tony Awards.

She appeared in fewer films as her life went on, devoting much of her later life to UNICEF. Her war-time struggles inspired her passion for humanitarian work and, although contributing to the organisation since 1954, she worked in some of the most profoundly disadvantaged communities of Africa, South America and Asia between 1988 and 1992. She was awarded the Presidential Medal of Freedom in recognition of her work as a UNICEF Goodwill Ambassador in late 1992, but a month later, aged 63, Hepburn died of appendiceal cancer at her home in Switzerland in early 1993.^[4][5][6]

Early life[link]

Audrey Hepburn was born Audrey Kathleen Ruston on 4 May 1929 on Rue Keyenveld in Ixelles, a municipality in Brussels in Belgium.^[7] Her father, Joseph Victor Anthony Ruston (1889–1980), was born in Úžice, Bohemia^[8] to a father of British Isles and Austrian descent^[9] and an Austrian mother.^[10] Ruston had earlier been married to Cornelia Bisschop, a Dutch heiress he met in the Dutch East Indies.^[11] Although born Ruston, he later double-barrelled the surname to the more "aristocratic" Hepburn-Ruston, mistakenly^[12] believing himself descended from James Hepburn, third husband of Mary, Queen of Scots.^[11]

Her mother, Baroness Ella van Heemstra (1900–1984), was a Dutch aristocrat and the daughter of Aarnoud van Heemstra, who was mayor of Arnhem from 1910 to 1920 and served as Governor of Suriname from 1921 to 1928. Ella's mother was Elbrig Willemine Henriette, Baroness van Asbeck (1873-1939), who was a granddaughter of Dirk van Hogendorp.^[10] At age nineteen, Ella had married the knight Hendrik Gustaaf Adolf Quarles van Ufford, but they divorced in 1925. Hepburn had two half-brothers from this marriage: Jonkheer Arnoud Robert Alexander "Alex" Quarles van Ufford (1920–1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010).^[11][13]

Ruston and van Heemstra married in Batavia in September 1926. They moved back to Europe, to Ixelles in Belgium, where Hepburn was born in 1929. In January 1932 the family moved on to Linkebeek, a nearby Brussels municipality.^[14] Although born in Belgium, Hepburn had British citizenship through her father.^[7] Because of her mother's family in the Netherlands and her father's job with a British company,^[15] the family often travelled between the three countries. With her multinational background, she had a talent for languages ​​and went on to speak fluent English, Dutch, French, Spanish and Italian. Hepburn was a playful and imaginative child who discovered a passion for ballet by the age of 5, loved to read and was nicknamed "Monkey Puzzle" by her father.

Childhood and adolescence in World War II[link]

Hepburn's parents were members of the British Union of Fascists in the mid-1930s,^[16] with her father becoming a true Nazi sympathiser.^[17] After her mother discovered him in bed with the nanny of her children,^[18] Hepburn's father left the family abruptly. In the 1960s, Hepburn would finally locate him again in Dublin through the Red Cross. Although he remained emotionally detached, his daughter remained in contact and supported him financially until his death.^[19]

After Joseph had left in 1935, Ella van Heemstra took her children home to Arnhem, though her sons spent much time with their father in The Hague. Ella and Audrey moved to Kent in 1937, where Hepburn was educated at a tiny independent girls' school in the village of Elham, run by the sisters Rigden and then attended by about 14 children.^[20][21] In September 1939, her mother relocated her back home in Arnhem, in the belief that, like in the First World War, the Netherlands would remain neutral and be spared a German attack. Whilst there, Hepburn attended the Arnhem Conservatory from 1939 to 1945 where, in addition to the standard school curriculum, she trained in ballet with Winja Marova. After the Germans invaded the Netherlands in 1940, Hepburn adopted the pseudonym Edda van Heemstra, a derivative of her mother's name Ella,^[22] because an "English sounding" name was considered dangerous during the German occupation. In 1942, her uncle Otto van Limburg Stirum, husband of Ella's older sister Miesje, was executed in retaliation for a sabotage by the resistance movement, while her half-brother Jan was deported to Berlin to work in a German labour camp (Alex went into hiding to avoid the same fate).^[23] After this, Ella, Miesje and Audrey moved in with Baron van Heemstra in nearby Velp. During her wartime struggles, Hepburn suffered from malnutrition, developed acute anæmia, respiratory problems, and œdema.^[24] Hepburn, in a retrospective interview, commented, "I have memories. More than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on to the train. I was a child observing a child."^[25]

Notwithstanding such strife, by 1944, Hepburn had become a proficient ballerina. She had secretly danced for groups of people to collect money for the Dutch resistance. "The best audience I ever had made not a single sound at the end of my performances," she remarked.^[26] After the Allied landing on D-Day, living conditions grew worse and Arnhem was subsequently devastated by Allied artillery fire under Operation Market Garden. During the Dutch famine that followed in the winter of 1944, the Germans had blocked the resupply routes of the Netherlands' already-limited food and fuel supplies as retaliation for railway strikes that were held to hinder German occupation. People starved and froze to death in the streets; Hepburn and many others resorted to making flour out of tulip bulbs to bake cakes and biscuits.^[17][27] One way that Hepburn passed the time was by drawing; some of her childhood artwork can be seen today.^[28] When the country was liberated, United Nations Relief and Rehabilitation Administration trucks followed.^[29] Hepburn said in an interview that she fell ill from putting too much sugar in her oatmeal and eating an entire can of condensed milk.^[30] Hepburn's war-time experiences sparked her devotion to UNICEF, an international humanitarian organisation, in her later career.^[17][27]

Career[link]

Career beginnings and early roles[link]

After the war ended in 1945, Ella and Audrey moved to Amsterdam, where Hepburn took ballet lessons for three years with Sonia Gaskell, arguably the leading figure in Dutch ballet.^[31] In 1948 she appeared for the first time on film, as an air stewardess in an educational travel film made by Charles van der Linden and Henry Josephson, Dutch in Seven Lessons.^[32] Gaskell provided an introduction to Marie Rambert, and in 1948 Hepburn traveled with her mother to London to study ballet at the Ballet Rambert. She supported herself with part-time work as a model. Around that time she decided to drop "Ruston" from her double-barreled surname. When Hepburn asked Rambert about her future, Rambert assured her that she could continue to work there and have a great career, but her relatively tall height of 5 ft 7 in (1.70 m)^[33] coupled with her poor nutrition during the war would keep her from becoming a prima ballerina. Hepburn trusted Rambert's assessment and decided to pursue acting: a career in which she at least had the chance to excel.^[34] After becoming a star, Rambert said of Hepburn, "She was a wonderful learner. If she had wanted to persevere, she might have become an outstanding ballerina."^[35]

Hepburn's mother worked menial jobs in order to support them but Hepburn needed to find employment. Since she had trained in theatre all her life, working as a London chorus girl seemed sensible. "I needed the money; it paid ₤3 more than ballet jobs."^[36] She performed in the musical theatre revues High Button Shoes (1948) at the London Hippodrome and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre in the West End. Her theatrical work, however, revealed that her voice was not strong and needed to be developed. Hepburn, therefore, took elocution lessons with the actor Felix Aylmer.^[37] After being spotted by a scout for Paramount Pictures on stage,^[35] Hepburn registered with the casting officers of British film studios while working in the West End and appeared in minor roles in the 1951 films One Wild Oat, Laughter in Paradise, Young Wives' Tale and The Lavender Hill Mob. Hepburn's first significant film performance was in Thorold Dickinson's The Secret People (1952), in which she played a prodigious ballerina and performed all of her own dancing sequences. Noticed by the French novelist Colette when on the set of Monte Carlo Baby (1951), Hepburn was also chosen to play the title character in the Broadway play Gigi. Upon first sight of Hepburn, Colette whispered, "Voilà," indicating Hepburn, "there's your Gigi."^[35][38] Opening on 24 November 1951 at the Fulton Theatre, the play ran for 219 performances finishing on 31 May 1952.^[39] Hepburn's debut on Broadway earned her a Theatre World Award.^[39]

[edit] Roman Holiday and increased popularity

Hepburn in a screen test for Roman Holiday (1953) which was also used as promotional material

In the Italian-set Roman Holiday (1953), a film she would later call her dearest movie, Hepburn had her first starring role as Princess Ann, an incognito European princess who, escaping the reins of royalty, falls in love with an American newsman (Gregory Peck). While producers initially wanted Elizabeth Taylor for the role, director William Wyler was so impressed by Hepburn's screen test that he cast her in the lead. Unbeknownst that she was still being filmed after the screen test, Hepburn displayed her ability as she candidly answered questions, relaxed and completely unaware. Wyler later commented, "She had everything I was looking for: charm, innocence and talent. She also was very funny. She was absolutely enchanting and we said, 'That's the girl!'"^[40] Originally, the film was to have had only Gregory Peck's name above its title in large font while she would receive "Introducing Audrey Hepburn" beneath though Peck suggested to Wyler that he elevate her to equal billing so her name appeared before the title and in type as large as his: "You've got to change that because she'll be a big star and I'll look like a big jerk."^[41]

Peck was correct. Hepburn garnered critical and commercial acclaim for her portrayal and supplemented the unexpected Academy Award for Best Actress with her first BAFTA Award for Best Actress in a Leading Role and only Golden Globe Award for Best Actress – Motion Picture Drama in 1953. A. H. Weiler noted in The New York Times that although "she is not precisely a newcomer to films, [Hepburn] the British actress who is being starred for the first time as Princess Ann, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future."^[1] Due to the instant celebrity that came with the film, she was signed to a seven-picture contract with Paramount with twelve months in between films to allow her time for stage work^[42] while spawning what became known as the Audrey Hepburn "look" after her illustration was placed on the September 1953 cover of TIME magazine.^[43]

Following her success in Roman Holiday, she starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954) in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress while winning the BAFTA Award for Best Actress in a Leading Role the same year. Bosley Crowther of The New York Times labeled Hepburn "a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame" concluding that "she is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year."^[44] The uncredited Hubert de Givenchy was responsible for many of Hepburn's outfits in the film. Initially disappointed, Givenchy noted that, upon being told that the actress would be "Miss Hepburn", he had expected Katharine Hepburn. When faced with this actress, he told Hepburn he had little time to spare. Nevertheless, she knew exactly how she wanted to look and asked to view his latest collection.^[41] Their collaboration in Sabrina formed a life-long friendship and partnership; she was often a muse for many of his designs and her style became renowned internationally.

Beginning another collaboration that year, this time with actor Mel Ferrer, she starred in the fantasy play Ondine on Broadway. With her lithe and lean frame, Hepburn made a convincing water spirit named Ondine in this sad story about love found and lost with a human (Ferrer). A New York Times critic commented, "Somehow Miss Hepburn is able to translate [its intangibles] into the language of the theatre without artfulness or precociousness. She gives a pulsing performance that is all grace and enchantment, disciplined by an instinct for the realities of the stage." While the leading characters in the play grow apart, the actors found themselves becoming closer. Hepburn and Ferrer got married on September 25, 1954, in Switzerland; their sometimes tumultuous partnership would last for the better part of the next fifteen years. Her performance won her the 1954 Tony Award for Best Performance by a Leading Actress in a Play, the same year she won the Academy Award for Roman Holiday. Hepburn, therefore, stands as one of three actresses to receive the Academy and Tony Awards for Best Actress in the same year (the others being Shirley Booth and Ellen Burstyn).^[45] By the mid-1950s, Hepburn was vastly becoming one of the biggest motion picture stars in Hollywood and received the Golden Globe for World Film Favorite – Female in 1955,^[46] but also a major fashion influence. Her gamine and elfin appearance and widely recognised sense of chic were both admired and imitated. Hepburn was asked to play Anne Frank's counterpart in both the Broadway and film adaptations of Frank's life. Hepburn, however, who was born the same year as Frank, found herself "emotionally incapable" of the task, and at almost thirty years old, too old.^[47] The role was eventually given to Susan Strasberg and Millie Perkins in the play and film respectively.

Hepburn in War and Peace (1956)

Having become one of Hollywood's most popular box-office attractions, she went on to star in a series of successful films during the remainder of the decade, including her BAFTA- and Golden Globe-nominated role as Natasha Rostova in War and Peace (1956), an adaptation of the Tolstoy novel set during the Napoleonic wars with Henry Fonda and husband Mel Ferrer. In 1957, she exhibited her dancing abilities in her debut musical film Funny Face (1957) where Fred Astaire, a fashion photographer, discovers a beatnik bookstore clerk (Hepburn), who, lured by a free trip to Paris, becomes a beautiful model. The same year Hepburn starred in another romantic comedy, Love in the Afternoon, alongside Gary Cooper and Maurice Chevalier. Yet, she stepped away from lighthearted fare when she played Sister Luke in The Nun's Story (1959), which focuses on the character's struggle to succeed as a nun alongside co-star Peter Finch. The role accrued her third Academy Award nomination and earned her a second BAFTA Award. A review in Variety said "Hepburn has her most demanding film role, and she gives her finest performance." Films in Review stated that her performance "will forever silence those who have thought her less an actress than a symbol of the sophisticated child/woman. Her portrayal of Sister Luke is one of the great performances of the screen."^[48] Reportedly, she spent hours in convents and with members of the Church to bring truth to her portrayal: "I gave more time, energy and thought to this than to any of my previous screen performances."^[49] Following this, she received lukewarm reception for starring with Anthony Perkins in the romantic adventure Green Mansions (1959) where she plays – "with grace and dignity" – the "ethereal" Rima, a jungle girl, who falls in love with a Venezuelan traveller played by Perkins^[50] and The Unforgiven (1960), her only western film, where she appears "a bit too polished, too fragile and civilized among such tough and stubborn types" of Burt Lancaster and Lillian Gish in a story of racism against a group of Native Americans.^[51]

[edit] Breakfast at Tiffany's and continued stardom

Hepburn in the opening scene of Breakfast at Tiffany's (1961), wearing the iconic little black dress by Givenchy

Three months after the birth of her son, Sean, in 1960, Hepburn began work on Blake Edwards' Breakfast at Tiffany's (1961), a film very loosely based on the Truman Capote novella. The film was drastically changed from the original version. Capote disapproved of many changes and proclaimed that Hepburn was "grossly miscast"^[52] as Holly Golightly, a quirky New York call girl,^[53] a role he had envisioned for Marilyn Monroe.^[52] Hepburn's portrayal of Golightly was adapted from the original: "I can't play a hooker," she admitted to Marty Jurow, co-producer of the film.^[52] Despite the lack of sexual innuendo in her character,^[52] her portrayal was nominated for the 1961 Academy Award for Best Actress and became an iconic character in American cinema. Often considered her defining role,^[54] Holly Golightly, Hepburn's high fashion style and sophistication within the film became synonymous with her. She named the role "the jazziest of my career"^[55] yet admitted that, "I'm an introvert. Playing the extroverted girl was the hardest thing I ever did."^[56] The little black dress which is worn by Hepburn in the beginning of the film is cited as one of the most iconic items of clothing in the history of the twentieth century and perhaps the most famous little black dress of all time.^{[57][58][59][60]}

Shirley MacLaine and Hepburn in the trailer for The Children's Hour (1961)

Playing opposite Shirley MacLaine and James Garner, her next role in William Wyler's lesbian-themed drama The Children's Hour (1961) saw Hepburn and MacLaine play teachers whose lives become troubled after a student accuses them of being lesbians. The film was one of Hollywood's earliest treatments of the subject of lesbianism,^[54] and perhaps due to the illiberal state of society, the film and Hepburn's performance went seemingly unnoticed both critically and commercially. Bosley Crowther of The New York Times, however, noted that "it is not too well acted" with the exception of Hepburn who "gives the impression of being sensitive and pure" of its "muted theme"^[61] while Variety magazine also complimented Hepburn's "soft sensitivity, marvellous projection and emotional understatement" adding that Hepburn and MacLaine "beautifully complement each other."^[62]

With Cary Grant in Charade (1963)

Her only film with Cary Grant came in the comic thriller Charade (1963). Hepburn, who plays Regina Lampert, finds herself pursued by several men who chase the fortune her murdered husband had stolen. The role earned her third and final competitive BAFTA Award and accrued another Golden Globe nomination though critic Bosley Crowther was less kind: "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes."^[63] Grant (59 years old at the time), who had previously withdrawn from the starring male lead roles in Roman Holiday and Sabrina, was sensitive about the age difference between Hepburn (at age 34) and him, making him uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to change the screenplay so that Hepburn's character would be the one to romantically pursue his.^[64] Grant, however, loved to humour Hepburn and once said, "All I want for Christmas is another picture with Audrey Hepburn."^[65]

Paris When It Sizzles (1964) reteamed Hepburn with William Holden nearly ten years after Sabrina. The Parisian-set screwball comedy, called "marshmallow-weight hokum",^[66] was "uniformly panned"^[67] but critics were kind to Hepburn's creation of Gabrielle Simpson, the young assistant of a Hollywood screenwriter (Holden) who aids his writer's block by acting out his fantasies of possible plots, describing her as "a refreshingly individual creature in an era of the exaggerated curve."^[66] Critical reception was worsened by a number of problems that plagued the set behind the scenes. Holden tried, without success, to rekindle a romance with the now-married actress; that, combined with his alcoholism made the situation a challenge. Hepburn, after principal photography began, demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies.^[67] Superstitious, she also insisted on dressing room 55 because that was her lucky number (she had dressing room 55 for Roman Holiday and Breakfast at Tiffany’s) and required that Givenchy, her long-time designer, be given a credit in the film for her perfume.^[67]

"Not since Gone with the Wind has a motion picture created such universal excitement as My Fair Lady," wrote Soundstage magazine in 1964,^[45] yet Hepburn's landing the role of Eliza Doolittle in the 1964 George Cukor film adaptation of the stage musical sparked controversy. Julie Andrews, who had originated the role in the stage show, had not been offered the part because producer Jack Warner thought Hepburn or Elizabeth Taylor more "bankable" propositions.^[68] Initially refusing, Hepburn asked Warner to give it to Andrews but, eventually, Hepburn was cast.^[68] Further friction was created when, although non-singer Hepburn had sung with "throaty charm" in Funny Face and had lengthy vocal preparation for the role in My Fair Lady,^[68] her vocals were dubbed by Marni Nixon.^[69][70] A dubber was required because Eliza Doolittle's songs were not transposed down to accommodate Hepburn's "low-mezzo voice" (as Nixon referred to it).^[68] Upset, when first informed, she walked out. She returned the next day and apologized to everybody for her "wicked behavior".^[68] Although Hepburn had lip synced to her recorded tracks during filming, Nixon looped her vocals in post-production and was given multiple attempts to match Hepburn's lip movements precisely.^[68] Overall, about 90% of her singing was dubbed despite being promised that most of her vocals would be used.^[68] Hepburn's voice remains in one line in "I Could Have Danced All Night", in the first verse of "Just You Wait", and in the entirety of its reprise in addition to sing-talking in parts of "The Rain in Spain" in the finished film.^[68] When asked about the dubbing of an actress with such distinctive vocal tones, Hepburn frowned and said, "You could tell, couldn't you? And there was Rex, recording all his songs as he acted ... next time —" She bit her lip to prevent her saying more.^[56] She later admitted that she would have never have accepted the role knowing that Warner intended to have nearly all of her singing dubbed.^[68] The controversy reached its height when, despite the film's accumulation of eight out of a possible twelve awards at the 37th Academy Awards, Hepburn was left nomination-less in the Best Actress category. Julie Andrews, however, was nominated for her efforts in Mary Poppins (1964), and won it. The media tried to play up a rivalry between the two actresses, even though both women denied any such bad feelings existed and got along well. Despite such strife, many critics greatly applauded Hepburn's "exquisite" performance.^[70] "The happiest thing about [My Fair Lady]," wrote Bosley Crowther in The New York Times "is that Audrey Hepburn superbly justifies the decision of Jack Warner to get her to play the title role."^[69] Her co-star Rex Harrison, who played Professor Higgins, also called Hepburn his favourite leading lady and Gene Ringgold of Soundstage also commented that "Audrey Hepburn is magnificent. She is Eliza for the ages,"^[45] while adding, "Everyone agreed that if Julie Andrews was not to be in the film, Audrey Hepburn was the perfect choice."^[45]

As the decade carried on, Hepburn appeared in an assortment of genres including the heist comedy How to Steal a Million (1966) where she played Nicole, the daughter of a famous art collector whose collection consists entirely of forgeries. Fearing her father's exposure, Nicole sets out to steal one of his priceless statues with the help of Simon Dermott (Peter O'Toole). In 1967, she starred in two films; the first being Two for the Road, a non-linear and innovative British dramedy that traces the course of a couple's troubled marriage. Director Stanley Donen said that Hepburn was more free and happy than he had ever seen her, and he credited that to co-star Albert Finney.^[71] The second, Wait Until Dark, is a suspense thriller in which Hepburn demonstrated her acting range by playing the part of a terrorised blind woman. Filmed on the brink of divorce, it was a difficult film considering husband Mel Ferrer was its producer and she lost fifteen pounds under the stress, but she found solace in co-star Richard Crenna and director Terence Young. Hepburn earned her fifth and final competitive Academy Award nomination for Best Actress; Bosley Crawther affirmed, "Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes."^[72]

Final entertainment-related projects[link]

From 1967 onward, after fifteen highly successful years in film, Hepburn decided to devote more time to her family and acted only occasionally. She attempted a comeback in 1976, co-starring with Sean Connery, in the period piece Robin and Marian, which was moderately successful. In 1979, Hepburn took the lead role of Elizabeth Roffe in the international production of Bloodline, re-teaming with director Terence Young (Wait Until Dark). She shared top billing with co-stars Ben Gazzara, James Mason and Romy Schneider. Author Sidney Sheldon revised his novel when it was reissued to tie into the film, making her character a much older woman to better match the actress's age. The film, an international intrigue amid the jet-set, was a critical and box office failure. Hepburn's last starring role in a cinematic film was with Ben Gazzara in the 1981 comedy They All Laughed, directed by Peter Bogdanovich. The film was overshadowed by the murder of one of its stars, Bogdanovich's girlfriend, Dorothy Stratten; the film was released after Stratten's death but only in limited runs. In 1987, she co-starred with Robert Wagner in a tongue-in-cheek made-for-television caper film, Love Among Thieves, which borrowed elements from several of Hepburn's films, most notably Charade and How to Steal a Million.

After finishing her last role in a motion picture in 1988, a cameo appearance as an angel in Steven Spielberg's Always, Hepburn completed only two more entertainment-related projects, both critically acclaimed. Gardens of the World with Audrey Hepburn was a PBS documentary television series, her final performance before cameras filmed on location in seven countries in the spring and summer of 1990. A one-hour special preceded the series, debuting in March 1991, while the series commenced the day after her death (21 January 1993). For the series's debut, Hepburn was posthumously awarded the 1993 Emmy Award for Outstanding Individual Achievement – Informational Programming. Recorded in 1992, her spoken word album, Audrey Hepburn's Enchanted Tales, features readings of classic children's stories and earned her a posthumous Grammy Award for Best Spoken Word Album for Children. She remains one of the few entertainers to win Grammy and Emmy Awards posthumously.

Contributions to UNICEF[link]

Hepburn was appointed Goodwill Ambassador of UNICEF. Then-United States president George H. W. Bush presented her with the Presidential Medal of Freedom in recognition of her work with UNICEF, and the Academy of Motion Picture Arts and Sciences posthumously awarded her the Jean Hersholt Humanitarian Award for her contribution to humanity, with her son accepting on her behalf. Grateful for her own good fortune after enduring the German occupation as a child, she dedicated the remainder of her life to helping impoverished children in the poorest nations. Hepburn's travels were made easier by her wide knowledge of languages; besides being naturally bilingual in English and Dutch, she also was fluent in French, Italian, Spanish, and German.^[73]

Though she had done work for UNICEF in the 1950s, starting in 1954 with radio presentations, this was a much higher level of dedication. Those close to her^[who?] say that the thoughts of dying, helpless children consumed her for the rest of her life. Her first field mission was to Ethiopia in 1988. She visited an orphanage in Mek'ele that housed 500 starving children and had UNICEF send food. Of the trip, she said, "I have a broken heart. I feel desperate. I can't stand the idea that two million people are in imminent danger of starving to death, many of them children, [and] not because there isn't tons of food sitting in the northern port of Shoa. It can't be distributed. Last spring, Red Cross and UNICEF workers were ordered out of the northern provinces because of two simultaneous civil wars... I went into rebel country and saw mothers and their children who had walked for ten days, even three weeks, looking for food, settling onto the desert floor into makeshift camps where they may die. Horrible. That image is too much for me. The 'Third World' is a term I don't like very much, because we're all one world. I want people to know that the largest part of humanity is suffering."^[74]

In August 1988, Hepburn went to Turkey on an immunisation campaign. She called Turkey "the loveliest example" of UNICEF's capabilities. Of the trip, she said, "the army gave us their trucks, the fishmongers gave their wagons for the vaccines, and once the date was set, it took ten days to vaccinate the whole country. Not bad."^{[citation needed]} In October, Hepburn went to South America. In Venezuela and Ecuador, Hepburn told the United States Congress, "I saw tiny mountain communities, slums, and shantytowns receive water systems for the first time by some miracle – and the miracle is UNICEF. I watched boys build their own schoolhouse with bricks and cement provided by UNICEF." Hepburn toured Central America in February 1989, and met with leaders in Honduras, El Salvador, and Guatemala. In April, she visited Sudan with Wolders as part of a mission called "Operation Lifeline". Because of civil war, food from aid agencies had been cut off. The mission was to ferry food to southern Sudan. Hepburn said, "I saw but one glaring truth: These are not natural disasters but man-made tragedies for which there is only one man-made solution – peace."^{[citation needed]} In October, Hepburn and Wolders went to Bangladesh. John Isaac, a UN photographer, said, "Often the kids would have flies all over them, but she would just go hug them. I had never seen that. Other people had a certain amount of hesitation, but she would just grab them. Children would just come up to hold her hand, touch her – she was like the Pied Piper." In October 1990, Hepburn went to Vietnam in an effort to collaborate with the government for national UNICEF-supported immunisation and clean water programmes.

In September 1992, four months before she died, Hepburn went to Somalia. Calling it "apocalyptic", she said, "I walked into a nightmare. I have seen famine in Ethiopia and Bangladesh, but I have seen nothing like this – so much worse than I could possibly have imagined. I wasn't prepared for this." "The earth is red – an extraordinary sight – that deep terracotta red. And you see the villages, displacement camps and compounds, and the earth is all rippled around them like an ocean bed. And those were the graves. There are graves everywhere. Along the road, around the paths that you take, along the riverbeds, near every camp – there are graves everywhere."^{[citation needed]} Though scarred by what she had seen, Hepburn still had hope. "Taking care of children has nothing to do with politics. I think perhaps with time, instead of there being a politicisation of humanitarian aid, there will be a humanisation of politics." "Anyone who doesn't believe in miracles is not a realist. I have seen the miracle of water which UNICEF has helped to make a reality. Where for centuries young girls and women had to walk for miles to get water, now they have clean drinking water near their homes. Water is life, and clean water now means health for the children of this village." "People in these places don't know Audrey Hepburn, but they recognise the name UNICEF. When they see UNICEF their faces light up, because they know that something is happening. In the Sudan, for example, they call a water pump UNICEF."

Personal life[link]

Romances, marriages, children and miscarriages[link]

Hepburn and Mel Ferrer on the set of War and Peace (1955)

In 1952, Hepburn was engaged to the young James Hanson,^[75] whom she had known since her London dancing days. She called it "love at first sight"; however, after having her wedding dress fitted and the date set, she decided the marriage would not work because the demands of their careers would keep them apart most of the time.^[76] She issued a statement about her decision, saying, "When I get married, I want to be really married."^[77] In the early 1950s, she also dated future Hair producer Michael Butler.^[78] Hepburn and Gregory Peck bonded during the filming of Roman Holiday (1953) and there were rumours that they were romantically involved; both denied it. Hepburn, however, added, "Actually, you have to be a little bit in love with your leading man and vice versa. If you're going to portray love, you have to feel it. You can't do it any other way. But you don't carry it beyond the set."^[79] They did however become lifelong friends. During the filming of Sabrina (1954), Hepburn and the already-married William Holden became romantically involved. She hoped to marry him and have children, but she broke off the relationship when Holden revealed that he had undergone a vasectomy.^[80][81] Although a common perception that Bogart and Hepburn (both starred in Sabrina together) did not get along, Hepburn commented that, "Sometimes it's the so-called 'tough guys' that are the most tender hearted, as Bogey was with me."^[82]

Hepburn and Andrea Dotti

At a cocktail party hosted by Gregory Peck, Hepburn met American actor Mel Ferrer.^[45] Ferrer recalled that, "We began talking about theatre; she knew all about the La Jolla Playhouse Summer Theatre, where Greg Peck and I had been co-producing plays. She also said she'd seen me three times in the movie Lili. Finally, she said she'd like to do a play with me, and she asked me to send her a likely play if I found one."^[45][83] Ferrer, vying for Hepburn to take the title role, sent her the script for the play Ondine. She agreed and rehearsals started in January 1954. Eight months later, on 25 September 1954, after meeting, working together and falling in love, the pair were married^[84] while preparing to star together in the film War and Peace (1955). Before having their only son, Hepburn had two miscarriages in March 1955^{[citation needed]} and in 1959. The latter occurred when filming The Unforgiven (1960) where breaking her back after falling off a horse and onto a rock resulted in hospital stay and miscarriage induced by physical and mental stress. Hepburn, therefore, took a year off work in order to successfully have a child. Sean Hepburn Ferrer, their son, whose godfather was the novelist A. J. Cronin who resided near Hepburn in Lucerne, was born on 17 July 1960. Despite the insistence from gossip columns that the marriage would not last, Hepburn claimed that she and her husband were inseparable and very happy together yet admitting that he had a bad temper.^[85] Ferrer was rumoured to be too controlling of Hepburn and had been referred to by others as being her Svengali – an accusation that Hepburn laughed off.^[86] William Holden was quoted as saying, "I think Audrey allows Mel to think he influences her." After a 14 year marriage, the couple divorced on 5 December 1968. Their son believed that Hepburn had stayed in the marriage too long. In June 2008, Mel Ferrer died of heart failure at the age of ninety.

Then-President Ronald Reagan with Hepburn and Robert Wolders in 1981

She met Italian psychiatrist Andrea Dotti on a cruise and fell in love with him on a trip to Greek ruins. She believed she would have more children, and possibly stop working. She married him on 18 January 1969 at age 40, she gave birth to their son Luca Dotti on 8 February 1970. When pregnant with Luca in 1969, Hepburn was more careful, resting for months and passing the time by painting before delivering him by caesarean section. Hepburn had her final miscarriage in 1974.^[87] Although Dotti loved Hepburn and was well liked by Sean, who called him "fun", he began having affairs with younger women. As for herself, Hepburn had a romantic relationship with actor Ben Gazzara during the filming of the 1979 movie Bloodline.[3] The Dotti-Hepburn marriage lasted thirteen years and ended in 1982 when Hepburn felt Luca and Sean were old enough to handle life with a single mother.^{[citation needed]} Although Hepburn broke off all contact with Ferrer (she only spoke to him twice more in the remainder of her life), she remained in touch with Dotti for the benefit of Luca. In October 2007, Andrea Dotti died from complications of a colonoscopy.

From 1980 until her death, Hepburn lived and was romantically involved with Dutch actor Robert Wolders,^[88] the widower of actress Merle Oberon. She met Wolders through a friend in the later stage of her marriage to Dotti. The divorce from Dotti finalised, Wolders and Hepburn started their lives together, although they never married. In 1989, she called the nine years she had spent with him the happiest years of her life. "Took me long enough," she said in an interview with American journalist Barbara Walters. Walters then asked why they never married; Hepburn replied that they were married, just not formally.^{[citation needed]}

Death[link]

Grave of Audrey Hepburn in Tolochenaz, Switzerland

Upon return from Somalia to Switzerland in late September 1992, Hepburn began suffering from abdominal pains. She went to specialists and received inconclusive results, so decided to have herself examined while on a trip to Los Angeles, California in October. On 1 November, Hepburn checked in at Cedars-Sinai Medical Center with her family. Doctors performed a laparoscopy and discovered abdominal cancer that had spread from her appendix, a very rare form of cancer belonging to a group of cancers known as pseudomyxoma peritonei (PMP).^[89] Having grown slowly over several years, the cancer had metastasised, not as a tumour, but as a thin coating over her small intestine. After surgery, the doctors put Hepburn through 5-fluorouracil Leucovorin chemotherapy.^[90] A few days later, she had an obstruction and medication was not enough to dull the pain. She underwent further surgery on 1 December. After one hour, the surgeon decided that the cancer had spread too far to be removed fully, and was inoperable.

After coming to terms with the gravity of Hepburn's illness, her family decided to return home to Switzerland in order to celebrate her last Christmas. Because Hepburn was still recovering from surgery, she was unable to fly on commercial aircraft. Hubert de Givenchy offered to help and arranged for Rachel Lambert "Bunny" Mellon to send her private Gulfstream jet, filled with flowers, to take Hepburn from Los Angeles to Geneva.^[91] On the evening of 20 January 1993, at her home in Tolochenaz, Vaud, Switzerland, Hepburn died in her sleep of appendiceal cancer. After her death, Gregory Peck went on camera and tearfully recited her favourite poem, "Unending Love" by Rabindranath Tagore.^[92]

Funeral services were held at the village church of Tolochenaz, Switzerland, on 24 January 1993. Maurice Eindiguer, the same pastor who wed Hepburn and Mel Ferrer and baptised her son Sean in 1960, presided over her funeral while Prince Sadruddin Aga Khan, of UNICEF, delivered a eulogy. Many family members and friends attended the funeral, including her sons, partner Robert Wolders, brother Ian Quarles van Ufford, ex-husbands Andrea Dotti and Mel Ferrer, Hubert de Givenchy, executives of UNICEF, and fellow actors Alain Delon and Roger Moore.^[93] Flower arrangements were sent to the funeral by Gregory Peck, Elizabeth Taylor and the Dutch royal family.^[94] The same day as her funeral, Hepburn was interred at the Tolochenaz Cemetery, a small cemetery that sits atop a hill overlooking the village.^[95]

Legacy[link]

Hepburn's legacy as an actress and a personality has endured long after her death. The American Film Institute named Hepburn third among the Greatest Female Stars of All Time. Even in her last years, she remained a visible presence in the film world. She received a tribute from the Film Society of Lincoln Center in 1991 and was a frequent presenter at the Academy Awards. She was the recipient of four posthumous awards including the 1993 Jean Hersholt Humanitarian Award and competitive Grammy and Emmy Awards. She has been the subject of many biographies since her death and the 2000 dramatisation of her life titled The Audrey Hepburn Story which starred Jennifer Love Hewitt and Emmy Rossum as the older and younger Hepburn respectively.^[96] The film concludes with footage of the real Audrey Hepburn, shot during one of her final missions for UNICEF.

Hepburn's image is widely used in advertising campaigns across the world. In Japan, a series of commercials used colourised and digitally enhanced clips of Hepburn in Roman Holiday to advertise Kirin black tea. In the United States, Hepburn was featured in a Gap commercial which ran from 7 September 2006, to 5 October 2006. It used clips of her dancing from Funny Face, set to AC/DC's "Back in Black", with the tagline "It's Back – The Skinny Black Pant". To celebrate its "Keep it Simple" campaign, the Gap made a sizeable donation to the Audrey Hepburn Children's Fund.^[97]

Hepburn has been considered a gay icon.^{[98][99][100]}

Style[link]

Hepburn was first dressed by Givenchy in the film Sabrina (1954)

Hepburn's reverence as a fashion icon has continued long since her death, proved by accruing the titles "most beautiful woman of all time" and "most beautiful woman of the 20th century" in polls by Evian and QVC respectively.^{[101][102][103]} Despite her physique being far from the Hollywood preference of bosomy actresses like Marilyn Monroe, Martine Carol, Kim Novak and Lana Turner. "This girl, singlehanded, may make bosoms a thing of the past," said director Billy Wilder maliciously, adding that she was very feminine by her grace, huge eyes and long legs, but even against the gender stereotypes of the time, the natural thickness of her brown eyebrows makes her "funny face unforgettable."^[104]

Her style was partially the result of meeting the couturier Hubert de Givenchy, who designed her dresses for Sabrina in 1954. Hepburn revealed, "[Givenchy] gave me a look, a kind, a silhouette. He has always been the best and he stayed the best. Because he kept the spare style that I love. What is more beautiful than a simple sheath made an extraordinary way in a special fabric, and just two earrings?"^[104] The designer created her outfits for many other films, including Funny Face, Love in the Afternoon, Breakfast at Tiffany's, Paris When It Sizzles, Charade and How to Steal a Million. In the latter, Peter O'Toole's character tells Hepburn's to "give Givenchy the night off", persuading her to dress as a cleaning lady. Givenchy was always amazed that, even after thirty five years of collaboration, "her measurements [had] not changed an inch."^[104] Givenchy remained Hepburn's friend and ambassador, and she his muse, throughout her life. Hepburn observed, "I have many things in common with Hubert. We like the same things."^[104] She agreed to model, on occasions, the creations of her friend. In 1988, when he presented his summer collection in Paris, she said, "Wherever I am in the world, he is always there. He is a man who does not disperse into worldliness. He has time for those he loves."^[104] Givenchy subsequently created a perfume for her titled L'Interdit (French for "Forbidden"). She equally inspired fashion photographer Richard Avedon, who captured an intentionally overexposed close-up of Hepburn's face in which only her famous features – her eyes, her eyebrows, and her mouth – are visible. "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."^[105]

Hepburn in Breakfast at Tiffany's (1961)

Italian shoe designer Salvatore Ferragamo created a shoe for her and made her ambassador of his fashion house while honouring her in a 1999 exhibition dedicated to the actress titled Audrey Hepburn, a woman, the style. She also popularised the Ray-Ban Wayfarer sunglasses after the film Breakfast at Tiffany's (1961) in addition to being on the cover of many fashion magazines like Vogue and Harper's Bazaar. She exercised fashion in her lifetime and continues to influence fashion. Fashion experts affirmed that Hepburn's longevity as a style icon results from her sticking with a look that suited her: "clean lines, simple yet bold accessories, minimalist palette."^[106] One of her many costars, Shirley Maclaine, wrote in her 1996 memoir My Lucky Stars, "[Hepburn] had very rare qualities and I envied her style and taste. I felt clumsy and old fashioned when I was with her." Hepburn's fashion styles continue to be popular among women today.^[107] Although Hepburn enjoyed fashion, she did not place much importance on it, preferring casual and comfortable clothes contrary to her image.^[108] In addition, she never considered herself attractive. She stated in a 1959 interview, "you can even say that I hated myself at certain periods. I was too fat, or maybe too tall, or maybe just plain too ugly... you can say my definiteness stems from underlying feelings of insecurity and inferiority. I couldn't conquer these feelings by acting indecisive. I found the only way to get the better of them was by adopting a forceful, concentrated drive."^[109]

The "little black dress" from Breakfast at Tiffany's, designed by Givenchy, was sold at a Christie's auction on 5 December 2006 for £467,200 (approximately $920,000), almost seven times its £70,000 pre-sale estimate. This was the highest price paid for a dress from a film,^[110] until it was surpassed by the $4.6 million paid in June 2011 for the Marilyn Monroe "subway dress" from The Seven Year Itch.^[111] The proceeds went to the City of Joy Aid charity to aid underprivileged children in India. The head of the charity said, "there are tears in my eyes. I am absolutely dumbfounded to believe that a piece of cloth which belonged to such a magical actress will now enable me to buy bricks and cement to put the most destitute children in the world into schools."^[112] However, the dress auctioned by Christie's was not the one that Hepburn wore in the film.^[113] Of the two dresses that Hepburn did wear, one is held in the Givenchy archives while the other is displayed in the Museum of Costume in Madrid.^[112] A subsequent London auction of Hepburn's film wardrobe in December 2009 raised £270,200 ($437,000), including £60,000 for the black Chantilly lace cocktail gown from How to Steal a Million. Half the proceeds were donated to All Children in School, a joint venture of The Audrey Hepburn Children's Fund and UNICEF.^[114]

Credits[link]

Awards[link]

See also[link]

Biography portal

• List of persons who have won Academy, Emmy, Grammy, and Tony Awards
• White floral Givenchy dress of Audrey Hepburn (Academy Awards, 1954)

References[link]

Further reading[link]

• Brizel, Scott (2009). Audrey Hepburn: International Cover Girl. Titan Books Ltd. ISBN 978-1-84856-611-8. 
• Chesire, Ellen (2003). Audrey Hepburn. Pocket Essentials. ISBN 978-1-903047-67-5. 
• Hepburn-Ferrer, Sean (2003). Audrey Hepburn, An Elegant Spirit: A Son Remembers. Atria. ISBN 0-671-02478-7. 
• Keogh, Pamela Clarke (2009). Audrey Style. Aurum Press Ltd. ISBN 978-1-84513-490-7. 
• Maychick, Diana (1996). Audrey Hepburn: An Intimate Portrait. Birch Lane Pr. ISBN 978-1-55972-195-0. 
• Paris, Barry (1997). Audrey Hepburn. Weidenfeld & Nicolson. ISBN 978-0-297-81728-4. 
• Spoto, Donald (2006). Enchantment: The Life of Audrey Hepburn. Arrow. 
• Walker, Alexander (1994). Audrey: Her Real Story. Weidenfeld & Nicholson. ISBN 978-1-85797-352-5. 
• Woodward, Ian (1984). Audrey Hepburn. St. Martin's Press. ISBN 978-0-312-06074-9. 

External links[link]

Wikimedia Commons has media related to: Audrey Hepburn

Wikiquote has a collection of quotations related to: Audrey Hepburn

• Official website of Hepburn (and the Audrey Hepburn Children's Fund)
• Audrey Hepburn collected news and commentary at The New York Times
• Works by or about Audrey Hepburn in libraries (WorldCat catalog)
• Audrey Hepburn at the Internet Movie Database
• Audrey Hepburn at the Internet Broadway Database
• Audrey Hepburn at the TCM Movie Database
• Audrey Hepburn at AllRovi
• Audrey Hepburn Quotes Collection of quotes and articles

Fay Wray
Studio publicity photo
Born	Vina Fay Wray (1907-09-15)September 15, 1907 Cardston, Alberta, Canada
Died	August 8, 2004(2004-08-08) (aged 96) New York City, New York
Occupation	Actress
Years active	1919–1980
Spouse	John Monk Saunders (m.1928-1939; divorced) Robert Riskin (m.1942-1955; his death) Sanford Rothenberg (m.1971-1991; his death)

Fay Wray (born Vina Fay Wray; September 15, 1907 – August 8, 2004) was a Canadian-American actress most noted for playing the female lead in King Kong. Through an acting career that spanned 57 years, Wray attained international stardom as an actress in horror film roles, leading to many considering her as the first "scream queen".

After appearing in minor film roles, Wray gained media attention being selected as one of the "WAMPAS Baby Stars". This led to Wray being signed to Paramount Pictures as a teenager, where she made more than a dozen films. After leaving Paramount, she signed deals with various film companies, being cast in her first horror film roles among many other types of roles, including in The Bowery (1933) and Viva Villa (1934), both huge productions starring Wallace Beery. For RKO Radio Pictures, Inc., she starred in the film with which she is most identified, King Kong (1933). After the success of King Kong, Wray appeared in many major film roles and on television, finishing her acting career in 1980.

Early life[link]

Wray, a descendant of both Springfield, Massachusetts, settler William Pynchon^{[citation needed]} and Mormon pioneers, was born on a ranch near Cardston, Alberta, Canada, to two Mormons, Elvina Marguerite Jones, who was from Salt Lake City, and Joseph Heber Wray, who was from Kingston upon Hull, England.^[1] She was one of six children.^[2] Her family returned to the United States a few years after she was born; they moved to Salt Lake City in 1912^[3] and moved to Lark, Utah, in 1914. In 1919, they moved to Salt Lake City again, before moving to Hollywood, California, where Fay attended Hollywood High School.

Early acting career[link]

Wray publicity shot from 1930

In 1923, Wray appeared in her first film at the age of 16, landing a role in a short historical film sponsored by a local newspaper.^[4] In the 1920s, Wray landed a major role in the silent film The Coast Patrol (1925),^[5] as well as uncredited bit parts at the Hal Roach Studios.

In 1926, American film association the Western Association of Motion Picture Advertisers selected Wray as one of the "WAMPAS Baby Stars", a group of women who they believed to be on the threshold of movie stardom. She was currently under contract to Universal Studios, mostly co-starring in low budget westerns opposite Buck Jones.

The following year in 1927, Wray was signed to a contract with Paramount Pictures In 1928, director Erich von Stroheim cast Wray as the main female lead in his film The Wedding March, released under Paramount, a film noted for its high budget and production values. It was a financial failure, but it gave Wray her first lead role. Wray stayed with Paramount to make more than a dozen more films, staying there to make the transition from silent films to "talkie" films.^[6]

[edit] Horror films and King Kong

After leaving Paramount, Wray signed to various film companies. It was under these deals that Wray was cast in various horror films, including Doctor X. However, her greatest known films were produced under her deal with RKO Radio Pictures, Inc.. Her first film under RKO was The Most Dangerous Game (1932), co-starring Joel McCrea and shot at night on the same jungle sets that were being used for King Kong during the day, with the leads from both films, Wray and Robert Armstrong, appearing in both movies.

The Most Dangerous Game was followed by Wray's most memorable film, King Kong. According to Wray, Jean Harlow had been RKO's original choice, but because MGM put Harlow under exclusive contract during the pre-production phase of the film, she became unavailable^[7] and Wray was approached by director Merian C. Cooper to play the role of Ann Darrow, the blonde captive of King Kong. Wray was paid $10,000 dollars to play the role.^[8] The film was a commercial success. Wray was reportedly proud that the film saved RKO from bankruptcy.^[9] Wray's role would become the one with which she would be most associated. For her appearances in various horror films, many have considered Wray the first "scream queen".

Later career[link]

Wray and Joel McCrea in The Most Dangerous Game (1932)

She continued to star in various films, but by the early 1940s, her appearances became less frequent. She retired from acting in 1942, after her second marriage. However, due to financial exigencies she continued in her acting career,^[8] and over the next three decades, Wray appeared in certain film roles and also frequently on television.

Wray was cast in the 1953-1954 ABC situation comedy, The Pride of the Family, as Catherine Morrison. Paul Hartman played her husband, Albie Morrison. Natalie Wood and Robert Hyatt played their children, Ann and Junior Morrison, respectively.^[10]

Wray appeared in three episodes of CBS's courtroom drama Perry Mason, the first of which was "The Case Of The Prodigal Parent"^[11] (Episode 1-36) aired June 7, 1958.

In 1959, she played Tula Marsh in the episode "The Second Happiest Day" of the CBS anthology series Playhouse 90. In 1960, she appeared as Clara in the episode "Who Killed Cock Robin?" of the ABC detective series 77 Sunset Strip. And in 1963, she played as Mrs. Brubaker in the episode "You're So Smart, Why Can't You Be Good?" episode of the NBC medical drama about psychiatry, The Eleventh Hour. She ended her acting career in the made-for TV movie Gideon's Trumpet (1980).

In 1988, her autobiography, On the Other Hand, was published.^[12] In her later years, Wray continued to make public appearances. She was approached by James Cameron to play the part of "Rose Dawson Calvert" for his 1997 blockbuster Titanic with Kate Winslet to play her younger self, but she turned down the role and the part of Rose was given to Gloria Stuart. She was a special guest at the 70th Academy Awards, where the show's host, Billy Crystal, introduced her as the "Beauty who charmed the Beast". She was the only 1920s Hollywood actress in attendance that evening. In January 2003, a 95-year old Wray appeared at the 2003 Palm Beach International Film Festival to celebrate the Rick McKay documentary film Broadway: The Golden Age, by the Legends Who Were There, where she was also honored with a "Legend in Film" award. In her later years, she also visited the Empire State Building frequently, once visiting in 1991 as a guest of honor at the building's 60th anniversary, and also in May 2004,^[13] which was among her last public appearances. Her final public appearance was at an after-party at the Sardi's restaurant in New York City, following the premiere of the documentary film Broadway: The Golden Age, by the Legends Who Were There.^[14]

Personal life[link]

Wray was married three times – to the writers John Monk Saunders and Robert Riskin and to the neurosurgeon Dr. Sanford Rothenberg (January 28, 1919 – January 4, 1991).^[15]

She had three children: Susan Saunders, Victoria Riskin, and Robert Riskin, Jr. She became a naturalized citizen of the United States in 1933.

In her autobiography On The Other Hand: A Life Story she stated that she was a Republican.^[16]

Death[link]

Star on Hollywood Walk of Fame at 6349 Hollywood Blvd.

In 2004, Wray was approached by director Peter Jackson to appear in a small cameo for the 2005 remake of King Kong. She met with Naomi Watts, who was to play the role of Ann Darrow. She politely declined the cameo, and claimed the original "Kong" to be the true "King". Before filming of the remake commenced, Wray died in her sleep of natural causes on August 8, 2004, in her Manhattan apartment. Her friend Rick McKay said that "she just kind of drifted off quietly as if she was going to sleep... she just kind of gave out."^[17] She was 96 years old. Wray was buried at the Hollywood Forever Cemetery in Hollywood, California.

Two days after her death, the lights of the Empire State Building were extinguished for 15 minutes in her memory.^[18]

Honours[link]

In 1989, Wray was awarded the Women in Film Crystal Award.^[19] Wray was honored with a "Legend in Film" award at the 2003 Palm Beach International Film Festival. For her contribution to the motion picture industry, Wray was honored with a star on the Hollywood Walk of Fame at 6349 Hollywood Blvd. She received a star posthumously on Canada's Walk of Fame in Toronto on June 5, 2005. A small park near Lee's Creek on Main Street in Cardston, Alberta, her birthplace, was named "Fay Wray Park" in her honor. The small sign at the edge of the park on Main Street has a silhouette of King Kong on it, remembering her role in the film King Kong. A large oil portrait of Wray by Alberta artist Neil Boyle is on display in the Empress Theatre in Fort Macleod, Alberta. In May 2006, Wray became one of the first four entertainers to ever be honored by Canada Post by being featured on a postage stamp.

Filmography[link]

See also[link]

Biography portal

• Canadian pioneers in early Hollywood

Footnotes[link]

External links[link]

Wikimedia Commons has media related to: Fay Wray

• Fay Wray at the Internet Movie Database
• Fay Wray at AllRovi
• Fay Wray at the TCM Movie Database
• Fay Wray at the Internet Broadway Database
• Fay Wray at Northern Stars
• Fay Wray trivia
• CBC.ca News: Fay Wray dies at 96
• Bellaonline.com article: Hollywood's First Scream Queen
• Literature on Fay Wray

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Astrid Allwyn
from the trailer for Follow the Fleet (1936)
Born	(1905-11-27)November 27, 1905 Manchester, Connecticut, United States
Died	March 31, 1978(1978-03-31) (aged 72) Los Angeles, California, United States
Occupation	Actress
Years active	1929–1943
Spouse	Robert Kent (divorced) Charles O. Fee (?-1978; her death)

Astrid Allwyn (November 27, 1905 – March 31, 1978) was an American stage and film actress.

She studied dancing and dramatics in New York and later joined a stock company. Allwyn made her Broadway debut in 1929 in Elmer Rice's Street Scene. On the strength of her performance in Once in a Lifetime, she was given film work. In films, she often played the woman from whom the male star escaped, for example Charles Boyer's character's fiancé in the 1939 version of Love Affair or James Stewart's in Mr. Smith Goes to Washington.

Her first husband was actor Robert Kent; the two appeared together in the 1936 Shirley Temple film, Dimples. They were divorced in 1941. She remained married to second spouse Charles O. Fee until her death from cancer in 1978. Two of their daughters also became actresses, Melinda O. Fee and Vicki Fee.

Partial filmography[link]

• Lady with a Past (1932)
• Love Affair (1932)
• Hello, Sister! (1933)
• Servants' Entrance (1934)
• One More Spring (1935)
• Hands Across the Table (1935)
• Charlie Chan's Secret (1936)
• Follow the Fleet (1936)
• Dimples (1936)
• Stowaway (1936)
• Venus Makes Trouble (1937)
• Love Affair (1939)
• Miracles for Sale (1939)
• Mr. Smith Goes to Washington (1939)
• City of Missing Girls (1941)

External links[link]

Biography portal

Wikimedia Commons has media related to: Astrid Allwyn

• Astrid Allwyn at the Internet Movie Database
• Astrid Allwyn at the Internet Broadway Database
• Astrid Allwyn at AllRovi
• Astrid Allwyn at Find a Grave

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Walter Woolf King
Walter Woolf King as Rodolfo Lassparri in A Night at the Opera.
Born	Walter Woolf King (1899-11-02)November 2, 1899 San Francisco, California, U.S.
Died	October 24, 1984(1984-10-24) (aged 84) Beverly Hills, California U.S.

Walter Woolf King (2 November 1899 – 24 October 1984) was an American singer, performer, and film actor

Born in San Francisco, California, King started singing for a living at a young age and sang mostly in churches. He made his Broadway theatre debut in 1919, and developed a reputation as a baritone in musical comedies and other musical performances. King advertised himself as Walter Woolf and Walter King in his early career, eventually settling on a combination of all three names, Walter Woolf King, in the mid 1930s.

Wolf discovered talking films and began as a lead in musicals but moved into less known villain roles in the Marx Brothers and Laurel and Hardy films, and low-budget films such as Today I Hang in 1942. He later became an actor's agent, occasionally appearing on television.

He died of a heart attack in Beverly Hills, California.

External links[link]

• Walter Woolf King at the Internet Movie Database

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