Name	Steve Rash
Birthplace	United States
Occupation	Director, producer

Steve Rash is an American film director and producer best known for directing such films as The Buddy Holly Story, Can't Buy Me Love and Queens Logic.

References

External links

Category:American film directors Category:Living people

Name	Vivien Leigh
Birth name	Vivian Mary Hartley
Birth date	November 05, 1913
Birth place	Darjeeling, Bengal Presidency, British India
Occupation	Actress
Death date	July 07, 1967
Death place	London, England
Spouse	Herbert Leigh Holman (1932–1940) Laurence Olivier (1940–1960)
Partner	John Merivale (1960–1967)
Years active	1933–1967

Vivien Leigh, Lady Olivier (5 November 1913 – 7 July 1967) was an English actress. She won two Best Actress Academy Awards for playing "southern belles": Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in A Streetcar Named Desire (1951), a role she had also played on stage in London's West End.

She was a prolific stage performer, frequently in collaboration with her then-husband, Laurence Olivier, who directed her in several of her roles. During her 30-year stage career, she played roles ranging from the heroines of Noël Coward and George Bernard Shaw comedies to classic Shakespearean characters such as Ophelia, Cleopatra, Juliet and Lady Macbeth.

Lauded for her beauty, Leigh felt that it sometimes prevented her from being taken seriously as an actress. However, ill health proved to be her greatest obstacle. For much of her adult life Leigh had what is now known as bipolar disorder. She earned a reputation for being difficult to work with, and her career suffered periods of inactivity. She also suffered recurrent bouts of chronic tuberculosis, first diagnosed in the mid-1940s. Leigh and Olivier divorced in 1960, and she worked sporadically in film and theatre until her death from tuberculosis in 1967.

Early life and acting career

Leigh was born Vivian Mary Hartley in Darjeeling, Bengal Presidency, British India, to Ernest Hartley, a British Officer in the Indian Cavalry, and Gertrude Robinson Yackje. Leigh's parents were married in Kensington, London, in 1912. In 1917, Ernest Hartley was transferred to Bangalore, while Gertrude and Vivian stayed in Ootacamund. Vivian Hartley made her first stage appearance at the age of three, reciting "Little Bo Peep" for her mother's amateur theatre group. Gertrude Hartley tried to instill in her daughter an appreciation of literature and introduced her to the works of Hans Christian Andersen, Lewis Carroll, and Rudyard Kipling, as well as stories of Greek mythology and Indian folklore. An only child, Vivian Hartley was sent to the Convent of the Sacred Heart in Roehampton, England, (now Woldingham School) in 1920 at the age of six-and-a-half. One of her friends at the convent school was the future actress Maureen O'Sullivan, to whom she expressed her desire to become "a great actress".

Vivian Hartley was removed from the school by her father, who took her travelling in Europe; with schooling provided by schools in the areas they travelled, returning to England in 1931. She attended one of Maureen O'Sullivan's films playing in London's West End and told her parents of her ambitions to become an actress. Her father enrolled her at the Royal Academy of Dramatic Art (RADA) in London.

Vivian Hartley met (Herbert) Leigh Holman in 1931. Leigh Holman was a barrister 13 years her senior. Despite his disapproval of "theatrical people", they were married on 20 December 1932, and she terminated her studies at RADA. On 12 October 1933, she gave birth to a daughter, Suzanne, but did not seem to settle to the normal domestic life role. Her friends suggested to her a small role in the film Things Are Looking Up, which marked her film debut. She engaged an agent, John Gliddon, who believed that the name "Vivian Holman" was not suitable for an actress. After rejecting his suggestion, "April Morn", she took "Vivian Leigh" as her professional name. Gliddon recommended her to Alexander Korda as a possible film actress, but Korda rejected her as lacking potential.

Cast in the play The Mask of Virtue in 1935, Leigh received excellent reviews followed by interviews and newspaper articles. One such article was from the Daily Express, in which the interviewer noted "a lightning change came over her face", which was the first public mention of the rapid changes in mood that became characteristic of her. John Betjeman, the future Poet Laureate, also wrote about her, describing her as "the essence of English girlhood". Korda attended her opening-night performance, admitted his error, and signed her to a film contract, with the spelling of her name revised to "Vivien Leigh". She continued with the play; but, when Korda moved it to a larger theatre, Leigh was found to be unable to project her voice adequately or to hold the attention of so large an audience, and the play closed soon after. In 1960, Leigh recalled her ambivalence towards her first experience of critical acclaim and sudden fame, commenting, "some critics saw fit to be as foolish as to say that I was a great actress. And I thought, that was a foolish, wicked thing to say, because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry. And it took me years to learn enough to live up to what they said for those first notices. I find it so stupid. I remember the critic very well and have never forgiven him."

Meeting Laurence Olivier

in Fire Over England (1937), their first collaboration]] Laurence Olivier saw Leigh in The Mask of Virtue, and friendship developed after he congratulated her on her performance. Olivier and Leigh began an affair after acting as lovers in Fire Over England (1937), when Olivier was married to actress Jill Esmond. During this time, Leigh read the Margaret Mitchell novel Gone with the Wind and instructed her American agent to suggest her to David O. Selznick, who was planning a film version. She remarked to a journalist, "I've cast myself as Scarlett O'Hara"; and The Observer film critic C. A. Lejeune recalled a conversation of the same period in which Leigh "stunned us all" with the assertion that Olivier "won't play Rhett Butler, but I shall play Scarlett O'Hara. Wait and see."

Despite her relative inexperience, Leigh was chosen to play Ophelia to Olivier's Hamlet in an Old Vic Theatre production staged at Elsinore, Denmark. Olivier later recalled an incident when her mood rapidly changed as she was preparing to go onstage. Without apparent provocation, she began screaming at him, before suddenly becoming silent and staring into space. She was able to perform without mishap; and, by the following day, she had returned to normal with no recollection of the event. It was the first time Olivier witnessed such behaviour from her. They began living together, as their respective spouses had each refused to grant either of them a divorce.

Leigh appeared with Robert Taylor, Lionel Barrymore, and Maureen O'Sullivan in A Yank at Oxford (1938), the first of her films to receive attention in the United States. During production, she developed a reputation for being difficult and unreasonable; and Korda instructed her agent to warn her that her option would not be renewed if her behaviour did not improve. Her next role was in St. Martin's Lane (1938) with Charles Laughton.

Achieving international success

Olivier had been attempting to broaden his film career. He was not well known in the United States despite his success in England, and earlier attempts to introduce him to the American market had failed. Offered the role of Heathcliff in Samuel Goldwyn's production of Wuthering Heights (1939), he travelled to Hollywood, leaving Leigh in London. Goldwyn and the film's director, William Wyler, offered Leigh the secondary role of Isabella; but she refused, preferring the role of Cathy, which had been assigned to Merle Oberon. Hollywood was in the midst of a widely publicised search to find an actress to portray Scarlett O'Hara in David O. Selznick's production of Gone with the Wind (1939). Leigh's American theatrical agent was the London representative of the Myron Selznick Agency (Myron was David's brother). In February 1938, Leigh asked that she be allowed to play Scarlett O'Hara. Selznick, who watched her performance that month in Fire Over England and A Yank at Oxford, thought her to be excellent but in no way a possible Scarlett, as she was "too British". Leigh travelled to Los Angeles to be with Olivier and to try to convince Selznick that she was Scarlett. When Myron Selznick, who also represented Olivier, met Leigh, he felt that she possessed the qualities his brother was searching for. Myron Selznick took Leigh and Olivier to the set where the burning of the Atlanta Depot scene was being filmed and introduced Leigh, telling his brother, "Hey, genius. Meet your Scarlett O'Hara." The following day, Leigh read a scene for Selznick, who organised a screen test and wrote to his wife, "She's the Scarlett dark horse and looks damn good. Not for anyone's ear but your own: it's narrowed down to Paulette Goddard, Jean Arthur, Joan Bennett, and Vivien Leigh". The director, George Cukor, concurred and praised Leigh's "incredible wildness"; she secured her role as Scarlett soon after.

Filming proved difficult for Leigh. Cukor was dismissed and replaced by Victor Fleming, with whom Leigh frequently quarrelled. She and Olivia de Havilland secretly met with Cukor at night and on weekends for his advice about how they should play their parts. She befriended Clark Gable, his wife Carole Lombard, and Olivia de Havilland; but she clashed with Leslie Howard, with whom she was required to play several emotional scenes. Leigh was sometimes required to work seven days a week, often late into the night, which added to her distress; and she missed Olivier, who was working in New York. She said to Laurence Olivier on a long-distance call, " Puss, my puss, how I hate film acting! Hate, hate, and never want to do another film again!"

In 2006, Olivia de Havilland responded to claims of Leigh's manic behaviour during filming Gone with the Wind, published in a biography of Olivier. She defended Leigh, saying, "Vivien was impeccably professional, impeccably disciplined on Gone with the Wind. She had two great concerns: doing her best work in an extremely difficult role and being separated from Larry [Olivier], who was in New York."

Gone with the Wind brought Leigh immediate attention and fame; but she was quoted as saying, "I'm not a film star – I'm an actress. Being a film star – just a film star – is such a false life, lived for fake values and for publicity. Actresses go on for a long time and there are always marvellous parts to play." Among the 10 Academy Awards won by Gone with the Wind was a Best Actress award for Leigh, who also won a New York Film Critics Circle Award for Best Actress.

Marriage and joint projects

(1940)]] In February 1940, Jill Esmond agreed to divorce Olivier; and Holman agreed to divorce Leigh, although they maintained a strong friendship for the rest of Leigh's life. Esmond was granted custody of Tarquin, her son with Olivier; and Holman was granted custody of Suzanne, his daughter with Leigh. On 31 August 1940, Olivier and Leigh were married in Santa Barbara, California, in a ceremony attended only by their witnesses, Katharine Hepburn and Garson Kanin.

Leigh hoped to co-star with Olivier and made a screen test for Rebecca, which was to be directed by Alfred Hitchcock with Olivier in the leading role. After viewing Leigh's screen test, Selznick noted that "she doesn't seem right as to sincerity or age or innocence", a view shared by Hitchcock and Leigh's mentor, George Cukor. Selznick observed that she had shown no enthusiasm for the part until Olivier had been confirmed as the lead actor so he cast Joan Fontaine. He refused to allow her to join Olivier in Pride and Prejudice (1940), and Greer Garson played the role Leigh had wanted for herself. Waterloo Bridge (1940) was to have starred Olivier and Leigh; however, Selznick replaced Olivier with Robert Taylor, then at the peak of his success as one of Metro-Goldwyn-Mayer's most popular male stars. Leigh's top billing reflected her status in Hollywood, and the film was popular with audiences and critics.

She and Olivier mounted a stage production of Romeo and Juliet for Broadway. The New York press publicized the adulterous nature that had marked the beginning of Olivier and Leigh's relationship and questioned their ethics in not returning to England to help with the war effort. Critics were hostile in their assessment of the production. Brooks Atkinson for the New York Times wrote, "Although Miss Leigh and Mr. Olivier are handsome young people they hardly act their parts at all." While most of the blame was attributed to Olivier's acting and direction, Leigh was also criticised, with Bernard Grebanier commenting on the "thin, shopgirl quality of Miss Leigh's voice." The couple had invested almost their entire savings into the project, and the failure was a financial disaster for them.

They filmed That Hamilton Woman (1941) with Olivier as Horatio Nelson and Leigh as Emma Hamilton. With the United States not yet having entered the war, it was one of several Hollywood films made with the aim of arousing a pro-British sentiment among American audiences. The film was popular in the United States and an outstanding success in the Soviet Union. Winston Churchill arranged a screening for a party that included Franklin D. Roosevelt and, on its conclusion, addressed the group, saying, "Gentlemen, I thought this film would interest you, showing great events similar to those in which you have just been taking part." The Oliviers remained favourites of Churchill, attending dinners and occasions at his request for the rest of his life; and, of Leigh, he was quoted as saying, "By Jove, she's a clinker."

The Oliviers returned to England, and Leigh toured through North Africa in 1943. Leigh performed for troops before falling ill with a persistent cough and fevers. In 1944, she was diagnosed as having tuberculosis in her left lung and spent several weeks in hospital before appearing to have recovered. Leigh was filming Caesar and Cleopatra (1945) when she discovered she was pregnant, but she suffered a miscarriage. She fell into a deep depression that hit the low point when she turned on Olivier, verbally and physically attacking him until she fell to the floor, sobbing. This was the first of many major breakdowns she suffered related to bipolar disorder. Olivier came to recognise the symptoms of an impending episode – several days of hyperactivity followed by a period of depression and an explosive breakdown, after which Leigh would have no memory of the event, but would be acutely embarrassed and remorseful.

Leigh was well enough to resume acting in 1946, in a successful London production of Thornton Wilder's The Skin of Our Teeth; but her films of this period, Caesar and Cleopatra (1945) and Anna Karenina (1948), were not great successes.

In 1947, Olivier was knighted; and Leigh accompanied him to Buckingham Palace for the investiture. She became Lady Olivier; and, after their divorce, per the style granted the divorced wife of a knight, she became socially known as Vivien, Lady Olivier. , Australia, June 1948]] By 1948, Olivier was on the Board of Directors for the Old Vic Theatre; and he and Leigh embarked on a six-month tour of Australia and New Zealand to raise funds for it. Olivier performed Richard III and also performed with Leigh in The School for Scandal and The Skin of Our Teeth. The tour was an outstanding success; and, although Leigh was plagued with insomnia and allowed her understudy to replace her for a week while she was ill, she generally withstood the demands placed upon her, with Olivier noting her ability to "charm the press." Members of the company later recalled several quarrels between the couple, the most dramatic occurring in Christchurch when Leigh refused to go onstage. Olivier slapped her face, and Leigh slapped him in return and swore at him before she made her way to the stage. By the end of the tour, both were exhausted and ill; and Olivier told a journalist, "You may not know it, but you are talking to a couple of walking corpses." Later, he would comment that he "lost Vivien" in Australia.

The success of the tour encouraged the Oliviers to make their first West End appearance together, performing the same works with one addition, Antigone, included at Leigh's insistence because she wished to play a role in a tragedy. .]] Leigh next sought the role of Blanche DuBois in the West End stage production of Tennessee Williams's A Streetcar Named Desire and was cast after Williams and the play's producer Irene Mayer Selznick saw her in The School for Scandal and Antigone; Olivier was contracted to direct. Containing a rape scene and references to promiscuity and homosexuality, the play was destined to be controversial, and the media discussion about its suitability added to Leigh's anxiety, but she believed strongly in the importance of the work.

When the West End production of Streetcar opened in October 1949, J. B. Priestley denounced the play and Leigh's performance; and the critic Kenneth Tynan commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". Olivier and Leigh were chagrined that part of the commercial success of the play lay in audience members attending to see what they believed would be a salacious and sensationalist story, rather than the Greek tragedy that they envisioned; but the play also had strong supporters, among them Noël Coward who described Leigh as "magnificent."

After 326 performances, Leigh finished her run. However, she was soon engaged for the film version. Her irreverent and often bawdy sense of humour allowed her to establish a rapport with her co-star Marlon Brando; but she had difficulty with director Elia Kazan, who did not hold her in high regard as an actress. He later commented that "she had a small talent"; but, as work progressed, he became "full of admiration" for "the greatest determination to excel of any actress I've known. She'd have crawled over broken glass if she thought it would help her performance." Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. Now she's in command of me." Olivier accompanied her to Hollywood where he was to co-star in William Wyler's Carrie.

The film won glowing reviews for her; and she won a second Academy Award for Best Actress, a British Academy of Film and Television Arts (BAFTA) Award, and a New York Film Critics Circle Award for Best Actress. Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of"; but, in later years, Leigh would say playing Blanche DuBois "tipped me over into madness."

Struggle with illness

In 1951, Leigh and Olivier performed two plays about Cleopatra, William Shakespeare's Antony and Cleopatra and George Bernard Shaw's Caesar and Cleopatra, alternating the play each night and winning good reviews. They took the productions to New York, where they performed a season at the Ziegfeld Theatre into 1952. The reviews there were also mostly positive, but the critic Kenneth Tynan angered them when he suggested that Leigh's was a mediocre talent that forced Olivier to compromise his own. Tynan's diatribe almost precipitated another collapse; Leigh, terrified of failure and intent on achieving greatness, dwelt on his comments while ignoring the positive reviews of other critics.

In January 1953, Leigh travelled to Ceylon to film Elephant Walk with Peter Finch. Shortly after filming commenced, she suffered a breakdown; and Paramount Pictures replaced her with Elizabeth Taylor. Olivier returned her to their home in England, where, between periods of incoherence, Leigh told him that she was in love with Finch and had been having an affair with him. She gradually recovered over a period of several months. As a result of this episode, many of the Oliviers' friends learned of her problems. David Niven said she had been "quite, quite mad"; and in his diary Noël Coward expressed surprise that "things had been bad and getting worse since 1948 or thereabouts." In 1953, Leigh recovered sufficiently to play The Sleeping Prince with Olivier; and, in 1955, they performed a season at Stratford-upon-Avon in Shakespeare's Twelfth Night, Macbeth, and Titus Andronicus. They played to capacity houses and attracted generally good reviews, Leigh's health seemingly stable. John Gielgud directed Twelfth Night and wrote, "...perhaps I will still make a good thing of that divine play, especially if he will let me pull her little ladyship (who is brainier than he but not a born actress) out of her timidity and safeness. He dares too confidently ... but she hardly dares at all and is terrified of overreaching her technique and doing anything that she has not killed the spontaneity of by overpractice."

Leigh took the lead role in the Noël Coward play South Sea Bubble, but she became pregnant and withdrew from the production. Several weeks later, she miscarried and entered a period of depression that lasted for months. She joined Olivier for a European tour with Titus Andronicus, but the tour was marred by Leigh's frequent outbursts against Olivier and other members of the company. After their return to London, her former husband, Leigh Holman, who continued to exert a strong influence over her, stayed with the Oliviers and helped calm her.

In 1958, considering her marriage to be over, Leigh began a relationship with the actor Jack Merivale, who knew of Leigh's medical condition and assured Olivier he would care for her. In 1959, she achieved a success with the Noël Coward comedy Look After Lulu, with The Times critic describing her as "beautiful, delectably cool and matter of fact, she is mistress of every situation."

In 1960, she and Olivier divorced; and Olivier married actress Joan Plowright. In his autobiography, he discussed the years of problems they had experienced because of Leigh's illness: "Throughout her possession by that uncannily evil monster, manic depression, with its deadly ever-tightening spirals, she retained her own individual canniness – an ability to disguise her true mental condition from almost all except me, for whom she could hardly be expected to take the trouble." Her first husband, Leigh Holman, also spent considerable time with her. Merivale joined her for a tour of Australia, New Zealand, and Latin America that lasted from July 1961 until May 1962; and Leigh enjoyed positive reviews without sharing the spotlight with Olivier. Though she was still beset by bouts of depression, she continued to work in the theatre and, in 1963, won a Tony Award for Best Actress in a Musical for her role in Tovarich. She also appeared in the films The Roman Spring of Mrs. Stone (1961) and Ship of Fools (1965).

In May 1967, she was rehearsing to appear with Michael Redgrave in Edward Albee's A Delicate Balance when she suffered a recurrence of tuberculosis. Following several weeks of rest, she seemed to recover. On the night of 7 July 1967, Merivale left her as usual, to perform in a play, and returned home around midnight to find her asleep. About thirty minutes later, he returned to the bedroom and discovered her body on the floor. She had been attempting to walk to the bathroom and, as her lungs filled with liquid, collapsed. Merivale contacted Olivier, who was receiving treatment for prostate cancer in a nearby hospital. In his autobiography, Olivier described his "grievous anguish" as he immediately travelled to Leigh's residence, to find that Merivale had moved her body onto the bed. Olivier paid his respects, and "stood and prayed for forgiveness for all the evils that had sprung up between us", before helping Merivale make funeral arrangements.

She was cremated at the Golders Green Crematorium; and her ashes were scattered on the lake at her home, Tickerage Mill, near Blackboys, East Sussex, England. A memorial service was held at St Martin-in-the-Fields, with a final tribute read by John Gielgud. In the United States, she became the first actress honoured by "The Friends of the Libraries at the University of Southern California". The ceremony was conducted as a memorial service, with selections from her films shown and tributes provided by such associates as George Cukor.

Critical comments

Vivien Leigh was considered one of the most beautiful actresses of her day, and her directors emphasised this in most of her films. When asked if she believed her beauty had been a setback to her acting, she said, "People think that if you look fairly reasonable, you can't possibly act, and as I only care about acting, I think beauty can be a great handicap, if you really want to look like the part you're playing, which isn't necessarily like you." and Laurence Olivier said that critics should "give her credit for being an actress and not go on forever letting their judgments be distorted by her great beauty." Garson Kanin shared their viewpoint and described Leigh as "a stunner whose ravishing beauty often tended to obscure her staggering achievements as an actress. Great beauties are infrequently great actresses — simply because they don't need to be. Vivien was different; ambitious, persevering, serious, often inspired."

Leigh explained that she played "as many different parts as possible" in an attempt to learn her craft and to dispel prejudice about her abilities. She believed that comedy was more difficult to play than drama because it required more precise timing and said that more emphasis should be placed upon comedy as part of an actor's training. Nearing the end of her career, which ranged from Noël Coward comedies to Shakespearean tragedies, she observed, "It's much easier to make people cry than to make them laugh." and as her fame escalated, she was featured on the cover of Time magazine as Scarlett. In 1969, critic Andrew Sarris commented that the success of the film had been largely due to "the inspired casting" of Leigh, and in 1998 wrote that "she lives in our minds and memories as a dynamic force rather than as a static presence." Leonard Maltin described the film as one of the all-time greats, writing in 1998 that Leigh "brilliantly played" her role.

Her performance in the West End production of A Streetcar Named Desire, described by the theatre writer Phyllis Hartnoll as "proof of greater powers as an actress than she had hitherto shown", led to a lengthy period during which she was considered one of the finest actresses in British theatre. Discussing the subsequent film version, Pauline Kael wrote that Leigh and Marlon Brando gave "two of the greatest performances ever put on film" and that Leigh's was "one of those rare performances that can truly be said to evoke both fear and pity."

Kenneth Tynan ridiculed Leigh's performance opposite Olivier in the 1955 production of Titus Andronicus, commenting that she "receives the news that she is about to be ravished on her husband's corpse with little more than the mild annoyance of one who would have preferred foam rubber." He was one of several critics to react negatively to her reinterpretation of Lady Macbeth in 1955, saying that her performance was insubstantial and lacked the necessary fury demanded of the role; however, after her death he revised his opinion, describing his earlier criticism as "one of the worst errors of judgment" he had ever made. He came to believe that Leigh's interpretation, in which Lady Macbeth uses her sexual allure to keep Macbeth enthralled, "made more sense [...] than the usual battle-axe" portrayal of the character. In a survey of theatre critics conducted shortly after Leigh's death, several named it as one of her greatest achievements in theatre.

In 1969, a plaque to Leigh was placed in the actors' church, St Paul's, Covent Garden; and, in 1985, a portrait of her was included in a series of postage stamps, along with Alfred Hitchcock, Charles Chaplin, Peter Sellers, and David Niven to commemorate "British Film Year".

The British Library in London purchased the papers of Laurence Olivier from his estate in 1999. Known as The Laurence Olivier Archive, the collection includes many of Vivien Leigh's personal papers, including numerous letters she wrote to Olivier. The papers of Vivien Leigh, including letters, photographs, contracts, and diaries, are owned by her daughter, Mrs Suzanne Farrington. In 1994, the National Library of Australia purchased a photograph album, monogrammed "L & V O" and believed to have belonged to the Oliviers, containing 573 photographs of the couple during their 1948 tour of Australia. It is now held as part of the record of the history of the performing arts in Australia.

Awards and nominations

List of works

For a full chronology of Leigh's theatre and film work, see Vivien Leigh chronology of stage and film performances.

Notes

References

Berg, A. Scott. Goldwyn, Sphere Books, 1989. ISBN 0-7474-0593-X

Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4

Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X

Haver, Ronald. David O. Selznick's Hollywood, Bonanza Books, New York, 1980. ISBN 0-517-47665-7

Hartnoll, Phyllis, The Concise Companion to the Theatre, Omega Books, 1972, ISBN 1-85007-044-X

Holden, Anthony. Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7

Kael, Pauline, 5001 Nights At The Movies, Zenith Books, 1982, ISBN 0-09-933550-6

McGilligan, Patrick. Alfred Hitchcock, A Life in Darkness and Light, Wiley Press, 2003. ISBN 0-470-86973-9

Olivier, Laurence, Confessions Of an Actor, Simon and Schuster, 1982, ISBN 0-14-006888-0

Selznick, David O.; Behlmer, Rudy, editor. Memo from David O. Selznick, Modern Library, New York, 2000. ISBN 0-375-75531-4

Shipman, David, Movie Talk, St Martin's Press, 1988. ISBN 0-312-03403-2

Taylor, John Russell. Vivien Leigh, Elm Tree Books, 1984. ISBN 0-241-11333-4

Vickers, Hugo. Vivien Leigh Little, Brown and Company, 1988 edition.

Walker, Alexander. Vivien, The Life of Vivien Leigh, Grove Press, 1987. ISBN 0-8021-3259-6

External links

Vivien Leigh

Viv & Larry

University of Bristol Theatre Collection, University of Bristol

Australian National Library, photographs from Australian tour

Film & Theatre photographs

Photographs and literature

The Search for Scarlett: Vivien Leigh

Category:Alumni of the Royal Academy of Dramatic Art Category:English film actors Category:English stage actors Category:20th-century actors Category:Shakespearean actors Category:Best Actress Academy Award winners Category:BAFTA winners (people) Category:Tony Award winners Category:People with bipolar disorder Category:People from Darjeeling Category:Deaths from tuberculosis Category:Infectious disease deaths in England Category:British Roman Catholics Category:1913 births Category:1967 deaths

Sean Rash (born August 22, 1982) is a right-handed ten-pin bowler from Anchorage, AK, and is considered one of the brightest young players on the Professional Bowlers Association (PBA) Tour. He now resides in Wichita, Kansas.

Rash joined the PBA in 2005. He holds the distinction of being the first PBA player to ever win a title when starting from the Tour Qualifying Round (TQR), which he accomplished in his rookie season at the 2006 West Virginia Championship (see ). He won his first PBA major title at the 2007 USBC Masters in Milwaukee, WI. The win gave Rash four titles in his first four television appearances, and seven straight match wins on TV to open his career (one short of the record eight wins set by George Branham III). The streak ended when Rash lost to Norm Duke in the semi-final match of the 2008-09 season-opening PBA World Championship. Since his last title, Rash has gone cold, losing 5 consecutive TV finals matches.

Sean has already won over $400,000 in his young PBA career. His nickname on tour is "Diaper," a play on his last name as well as his youth. He has accumulated 9 perfect 300 games in PBA events through the 2009-10 season.

Before the PBA

Sean Rash was a highly accomplished bowler before turning pro. His amateur accomplishments included:

Junior Team USA member in 1998, 2002 and 2003.

Team USA member in 2002, 2004 and 2005. Was part of the 2004 team that won the World Tenpin Team Cup in The Netherlands.

Two-time All-American at Wichita State University (2002 and 2003).

Won the 2003 International Bowling Congress (IBC) National Championship, and was runner-up for IBC Bowler of the Year.

Won the 2003 USBC Doubles Championship, where he and partner Derek Sapp established an all-time record for pinfall with 1,540 over six games (later broken in 2007 by Jonathan Masur and Jeffrey Butler shooting a 1,544).

Sources

www.pba.com, official site of the Professional Bowlers Association and Lumber Liquidators PBA Tour

http://www.bowl.com/tournaments/usbcopen/national/records_general_records.aspx

Category:American bowling players Category:1982 births Category:Living people

Name	Roy Wood
Background	solo_singer
Birth name	Roy Adrian Wood
Born	November 08, 1946Kitts Green, Birmingham, England
Genre	Progressive rock, pop rock, jazz fusion, symphonic rock, art rock, pop, glam rock
Occupation	Musician, singer-songwriter, composer, producer, arranger
Years active	1964–present
Instrument	Multi-instrumentalist
Label	United Artists, Deram, Regal Zonophone, Fly, Cube, Harvest, EMI, Warner Bros., Jet, Cheapskate, Speed, Legacy
Associated acts	Mike Sheridan and The NightridersThe NightridersThe MoveElectric Light Orchestra WizzardWizzo BandRoy Wood's HelicoptersThe RockersThe Roy Wood Big Band The Wombles with Roy WoodRoy Wood Rock & Roll Band
Url	Roywood.co.uk

Roy Adrian Wood (born 8 November 1946) is an English singer-songwriter and musician. He was particularly successful in the 1960s and 1970s as member and co-founder of the bands The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these bands.

Career

Wood's first group in Birmingham in the early 1960s was The Falcons, which he left in 1963 to join Gerry Levene and the Avengers. He then moved to Mike Sheridan and the Nightriders (the band later became The Idle Race). During this period, Wood attended the Moseley College of Art, from which he was expelled in 1964. Their third hit, "Flowers in the Rain", helped launch BBC Radio 1 in 1967, and the band evolved over a three year period.

ELO's early live performances were chaotic, and after increasing tensions, Wood left in July 1972 and formed a new group, Wizzard, which assembled cellists, brass players and a bigger rhythm section, with several drummers and percussionists.

In 1977 he formed the Wizzo Band, a jazz-rock ensemble, whose only live performance was a BBC simultaneous television and radio broadcast in stereo. The Wizzo Band split early the following year after cancelling a nationwide tour.

Between 1980 and 1982 Wood released a few singles under his own name and also as Roy Wood's Helicopters, and played some live dates under this name, with a band comprising Robin George (guitar), Terry Rowley (keyboards), Jon camp (bass), and Tom Farnell (drums). The release of what would have been the last of these singles, "Aerial Pictures", backed with "Airborne", was cancelled owing to the lack of chart success for its predecessors, but both sides appeared for the first time in 2006 on a compilation CD, Roy Wood - The Wizzard!. "Aerial Pictures", using the original backing track, subsequently became a solo single for former Move vocalist, Carl Wayne.

Wood also made a one-off rock and roll single with Phil Lynott, Chas Hodges and John Coghlan, credited to The Rockers, "We Are The Boys" (1983), and played a leading role in the Birmingham Heart Beat Charity Concert 1986, on 15 March 1986, which was later televised in part by the BBC. As well as designing the logo, Wood performed in a line-up which also included the Electric Light Orchestra and the Moody Blues.

After a period away from the limelight, following the release of the album Starting Up (1987), a cover version of the Len Barry hit "1-2-3", and a guest vocal appearance on one track on Rick Wakeman's The Time Machine, he went on the road with 'Roy Wood's Army'. He also recorded two tracks with Lynne around this time ("If You Can't Get What You Want" and "Me and You"), which were never released.

Collectively, hit records by The Move, Electric Light Orchestra, Wizzard, and Wood's own solo singles demonstrated an impressive chart run for an individual, both as composer and performer. Altogether he had more than 20 singles in the UK Singles Chart under various guises, including three UK #1 hits. His most regularly broadcast song is the seasonal Wizzard single "I Wish It Could Be Christmas Everyday". In 1995 he released a new live version as the 'Roy Wood Big Band', which charted at #59, and in 2000 he joined forces with Mike Batt and The Wombles, for a re-working of "I Wish It Could Be Christmas Everyday" and of the Wombles' hit "Wombling Merry Christmas", together in one song which reached #22.

Most recently, he has formed the Roy Wood Rock & Roll Band for occasional live dates and television performances in the UK. They were confirmed as the support act for Status Quo at several UK dates in November and December 2009.

Discography

Albums

Boulders (1973) - UK #15; US Billboard 200 #176

The London Bo Diddley Sessions (1973) - with Wood playing bass

Mustard (1975)

Super Active Wizzo (1977)

On The Road Again (1979) - not released in the UK

The Singles (1982) - UK #37

Starting Up (1987)

Solo singles

"When Gran'ma Plays the Banjo" (1972)

"Dear Elaine" (1973) - UK #18

"Forever" (1973) - UK #8

"Goin' Down the Road" (1974) - UK #13

"Oh What a Shame" (1975) - UK #13

"Look Thru' the Eyes of a Fool" (1975)

"Any Old Time Will Do" (1976)

"Keep Your Hands on the Wheel" (1978)

"(We're) On the Road Again" (1979)

"Rock City" - Helicopters (1980)

"Sing Out the Old — Bring In the New" (1980)

"Green Glass Windows" - Roy Wood's Helicopters (1981)

"Down to Zero" (1981)

"It's Not Easy" (1982)

"O.T.T." (1982)

"We are the Boys (Who Make All the Noise)" - The Rockers (1983)

"Under Fire" (1985)

"Sing Out the Old — Bring In the New" - new recording (1985)

"Raining in the City" (1986)

"1-2-3" (1987)

All the above titles recorded by Carl Wayne were as a solo artist, after he left The Move in 1969.

Chronological album discography

For the complete Move discography see The Move Discography For the complete ELO discography see Electric Light Orchestra discography For the complete Wizzard discography see Wizzard Discography

The Move (1968) - The Move

Shazam (1970) - The Move

Looking On (1970) - The Move

Message from the Country (1971) - The Move

The Electric Light Orchestra (1971) - ELO

ELO 2 (1973) - ELO (Although uncredited at the time, Wood performed on two tracks, playing cello and bass on "In Old England Town" and "From the Sun to the World").

Wizzard Brew (1973) - Wizzard

Boulders (1973) - Solo

Introducing Eddy & The Falcons (1974) - Wizzard

Mustard (1975) - Solo

Super Active Wizzo (1977) - Wizzo Band

On The Road Again (1979) - Solo

Starting Up (1987) - Solo

Main Street (2000) - Wizzard

References

External links

Roy Wood's website

[ Biography page at the Allmusic website]

The Move Information Station

Roy Wood honorary doctorate photographs (University of Derby)

Roy Wood memorabilia and interviews

Category:1946 births Category:Living people Category:People from Birmingham, West Midlands Category:English songwriters Category:English rock guitarists Category:English male singers Category:English record producers Category:British rock cellists Category:The Move members Category:Electric Light Orchestra members Category:English multi-instrumentalists

Name	Pete Weber
Birthname	Peter David Weber
Birth date	August 21, 1962
Birth place	St. Ann, Missouri
Occupation	Ten-Pin Bowler
Years active	1980–present
Othername	PDW
Spouse	Tracy

Peter David "Pete" Weber, nicknamed “PDW”, (born August 21, 1962 in St. Ann, Missouri), is a famous bowling professional on the Professional Bowlers Association (PBA) Tour. Weber is one of the sport's most popular active players and is well known for his maverick, rebellious personality. Weber is also featured in the ten-pin bowling sports documentary A League of Ordinary Gentlemen.

Growing up

Pete Weber grew up in Florissant, Missouri, and, as the son of bowling legend Dick Weber, was introduced to the sport at the age of two. At the age of 15, Weber was already winning local bowling tournaments against adult players, and, with the help of his father, was able to join the PBA tour at the age of 17 (the former policy required a minimum age of 18). In 1979, Weber started his first year on the professional circuit and participated in 21 tour events, including making one TV appearance. Weber won Rookie of the Year honors in 1980. By 1982, he had won his first PBA title, winning two that season. By the time he was 24 years old, he had already reached the 10-title plateau (becoming the youngest player in PBA history to reach that mark). At age 26, he won the PBA National Championship, giving him all three jewels of the PBA's "triple crown" (achieved by winning the U.S. Open, Tournament of Champions and PBA National Championship).

Controversy

Despite Weber's talent, he was not popular with his bowling peers and was even denied Player of the Year honors in 1987 despite winning the Tournament of Champions and leading the tour in earnings; the award was instead given to Marshall Holman. By 1989, Weber had won 13 PBA Tour titles and had reached over $1 million (USD) in earnings, but his personal life was plagued with problems. By the mid-1990s, Weber had been through two divorces and suffered from alcoholism. At the same time, the PBA tour itself was in decline.

In 2000, the PBA Tour was sold to three former Microsoft executives; Weber was not on the tour during this transitional phase, as he was still serving a six-month suspension given by the former PBA leadership in 1999 due to behavior related to his drinking problem. The new tour ownership saw Weber's flashiness as a potential tool for marketing the PBA to a new audience. By the 2001-02 season, Weber had his career back on track, winning three titles in all. On December 4, 2005, Weber overcame a year of trying times both personally and professionally by clinching what was, perhaps, the most emotional title of his career at the 2005 Bowlersparadise.com Classic at Stardust Bowl in Hammond, Indiana. This marked the first television appearance for Pete Weber in 666 days, and it was his first title after the death of his father on February 13, 2005. Pete honored his father after the victory by looking into the ESPN cameras and pointing at the "DW" patch on his sleeve.

Achievements

Overall, Weber has won 35 PBA Tour events, including eight major titles. His 35th tour win on April 4, 2010 put him in sole possession of third place on the all-time PBA Tour titles list. (The win also ensured Walter Ray Williams Jr. of his record 7th Player of the Year award, as well as making Williams the oldest ever to win it. Had Weber lost in the final match against Mike Scroggins, then Scroggins would have been named Player of the Year.)

Pete's eight majors place him in a tie with Mike Aulby and Walter Ray Williams, Jr., second all-time to the legendary Earl Anthony, who has 10. Weber has rolled 60 perfect 300 games in PBA competition through the 2009-10 season. He has also won the most modern-day U.S. Open titles (4). Weber is one of five PBA players to have earned the career Triple Crown. If he wins one more Tournament of Champions title, he'll become the first bowler to win all three jewels of the Triple Crown at least twice in a career.

Pete Weber claimed his first career European Bowling Tour title in 2008, in the 30th Trofeu Internacional, July 22-27, 2008, Ciutat de Barcelona at Bowling Pedralbes in Barcelona, Spain.

Pete joined his father in the PBA Hall of Fame in 1998, and he became a member of the United States Bowling Congress Hall of Fame in 2002. His career PBA Tour earnings of over $3.2 million (through the 2009-10 season) place him second all-time, behind only all-time titles leader Walter Ray Williams, Jr. (Weber and Williams are the only two PBA bowlers to have topped the $3 million mark in career earnings.) Pete also owns 44 PBA Regional titles, the most all-time.

Pete was ranked 4th on the PBA's 2008 list of "50 Greatest Players of the Last 50 Years," one place behind his father.

On ESPN's Cold Pizza he mentioned that he has made the 7-10 split four times in his career. He also noted that he is a near-scratch golfer and has six career holes-in-one.

Defeats

Pete Weber was the victim in two momentous victories by Walter Ray Williams, Jr. Williams defeated Weber, 236-213, on March 26, 2006, in the title match of the PBA World Championship to tie Earl Anthony's original all time tour titles record of 41.

Williams also defeated Weber, 289-236, on September 24, 2006, in the title match of the Dydo Japan Cup to break Anthony's all-time tour titles record and establish the all-time mark of 42 titles.

Bowling Style and Personal Information

His style is a power stroker, which combines the high backswing and rev rate of a cranker with the smooth timing of a stroker.

He wears sunglasses while bowling on television to reduce the glare of the TV lights.

When he gets a strike, he sometimes does the D Generation-X crotch chop.

Pete's bowling idol growing up was not his father, but Mark Roth, one of the game's original power players who inspired Pete to hook the ball much more than his father ever did.

Pete dropped out of high school in the 10th grade, opting to work behind the pins at a local bowling center and refine his game during time off. He got his General Equivalency Degree (GED) at age 17, just prior to joining the PBA Tour.

He has been married to third wife, Tracy, since 1997. They have three children together.

Weber has many superstitions when bowling, including: sitting in the same spot the same way when bowling well, not having his wife Tracy wear red on TV, and folding his towel the same way.

Weber's most embarrassing moment came on national television on April 13, 1991. As Pete explained to Sports Illustrated on November 7, 2006, "After I won the 1991 [BPAA] U.S. Open, I went to lift the trophy over my head. The eagle toppled down and busted into a million pieces. People came up and grabbed pieces to take home."

He likes to follow all the St. Louis professional sports teams: Cardinals, Rams, and Blues.

In an interview after winning his first title of the 2001 season (Great Lakes Classic), he addressed the bowling world with the statement: "I want you to take a look, I'm back and I am P.D.W." During the telecast, Weber shot 299, leaving a 4-pin on the 12th ball after eleven straight strikes.

He has written on BowlSpace, the social networking site for bowlers, that he is a big wrestling fan, particularly of the WWE. His favorite wrestler is Triple H, and when Weber gets spares and strikes on TV "The Game" by Motörhead (Triple H's entrance music) plays through the speakers.

External links

PBA Tour - Pete Weber biography page

USA Today article - "Pete Weber's resurgence has PBA on edge" (03-01-2002)

USA Today article - "Brash, raunchy Weber is just what bowling needs" (02-12-2002) in

References

Category:1962 births Category:American bowling players Category:Living people Category:People from St. Louis County, Missouri

Caption	in Mutiny on the Bounty (1935)
Birth date	February 01, 1901
Birth place	Cadiz, Ohio, U.S.
Death date
Death place	Los Angeles, California, U.S.
Birth name	William Clark Gable
Occupation	Actor
Years active	1923–1960
Spouse	(divorced) (divorced) (her death) (divorced) (his death) 1 child

William Clark Gable (February 1, 1901 – November 16, 1960) was an American film actor, nicknamed "The King of Hollywood" in his heyday. In 1999, the American Film Institute named Gable seventh among the greatest male stars of all time.

Gable's most famous role was Rhett Butler in the 1939 Civil War epic film Gone with the Wind, in which he starred with Vivien Leigh. His performance earned him his third nomination for the Academy Award for Best Actor; he won for It Happened One Night (1934) and was also nominated for Mutiny on the Bounty (1935). Later performances were in Run Silent, Run Deep, a submarine war film, and his final film, The Misfits (1961), which paired Gable with Marilyn Monroe, also in her last screen appearance.

During his long film career, Gable appeared opposite some of the most popular actresses of the time. Joan Crawford, who was his favorite actress to work with, and Adeline (née Hershelman), who was of German and Irish descent. He was mistakenly listed as a female on his birth certificate. His original last name was Goebel, but this was considered too German during World War I because of anti German sentiment. Birth registrations, school records and other documents contradict one another. "William" would have been in honor of his father. "Clark" was the maiden name of his maternal grandmother. In childhood he was almost always called "Clark"; some friends called him "Clarkie," "Billy," or "Gabe".

When he was six months old, his sickly mother had him baptized Roman Catholic. She died when he was ten months old, probably of an aggressive brain tumor. Following her death, Gable's father's family refused to raise him as a Catholic, provoking enmity with his mother's side of the family. The dispute was resolved when his father's family agreed to allow Gable to spend time with his mother's Catholic brother, Charles Hershelman, and his wife on their farm in Vernon, Pennsylvania.

In April 1903, Gable's father Will married Jennie Dunlap, whose family came from the small neighboring town of Hopedale. Gable was a tall shy child with a loud voice. After his father purchased some land and built a house, the new family settled in. Jennie played the piano and gave her stepson lessons at home; later he took up brass instruments. She raised Gable to be well-dressed and well-groomed; he stood out from the other kids. Gable was very mechanically inclined and loved to strip down and repair cars with his father. At thirteen, he was the only boy in the men's town band. Even though his father insisted on Gable doing "manly" things, like hunting and hard physical work, Gable loved language. Among trusted company, he would recite Shakespeare, particularly the sonnets. Will Gable did agree to buy a seventy-two volume set of The World's Greatest Literature to improve his son's education, but claimed he never saw his son use it. In 1917, when Gable was in high school, his father had financial difficulties. Will decided to settle his debts and try his hand at farming and the family moved to Ravenna, just outside of Akron. Gable had trouble settling down in the area. Despite his father's insistence that he work the farm, Gable soon left to work in Akron's B.F. Goodrich tire factory.

At seventeen, Gable was inspired to be an actor after seeing the play The Bird of Paradise, but he was not able to make a real start until he turned 21 and inherited money. By then, his stepmother Jennie had died and his father moved to Tulsa to go back to the oil business. He toured in stock companies and worked the oil fields and as a horse manager. Gable found work with several second-class theater companies and worked his way across the Midwest to Portland, Oregon, where he found work as a necktie salesman in the Meier & Frank department store. While there, he met actress Laura Hope Crews, who encouraged him to go back to the stage and into another theater company. His acting coach was a theater manager in Portland, Oregon, Josephine Dillon (seventeen years his senior). Dillon paid to have his teeth repaired and his hair styled. She guided him in building up his chronically undernourished body, and taught him better body control and posture. She spent considerable time training his naturally high-pitched voice, which Gable slowly managed to lower, and he gained better resonance and tone. As his speech habits improved, Gable's facial expressions became more natural and convincing. After the long period of rigorous training, she eventually considered him ready to attempt a film career.

Career

Stage and silent films

In 1924, with Dillon's financial aid, the two went to Hollywood, where she became his manager and first wife. He changed his stage name from W. C. Gable to Clark Gable. He found work as an extra in such silent films as Erich von Stroheim's The Merry Widow (1925), The Plastic Age (1925), which starred Clara Bow, and Forbidden Paradise, plus a series of two-reel comedies called The Pacemakers. He also appeared as a bit player in a series of shorts. However, Gable was not offered any major roles and so he returned to the stage, becoming lifelong friends with Lionel Barrymore, who in spite of his bawling Gable out for amateurish acting at first, urged Gable to pursue a career on stage. During the 1927-28 theater season, Gable acted with the Laskin Brothers Stock Company in Houston, where he played many roles, gained considerable experience and became a local matinee idol. Gable then moved to New York and Dillon sought work for him on Broadway. He received good reviews in Machinal; "He's young, vigorous and brutally masculine," said the Morning Telegraph. The start of the Great Depression and the beginning of talking pictures caused a cancellation of many plays in the 1929-30 season and acting work became harder to get.

Early successes

In 1930, after his impressive appearance as the seething and desperate character Killer Mears in the Los Angeles stage production of The Last Mile, Gable was offered a contract with MGM. His first role in a sound picture was as the villain in a low-budget William Boyd western called The Painted Desert (1931). He received a lot of fan mail as a result of his powerful voice and appearance; the studio took notice.

In 1930, Gable and Josephine Dillon were divorced. A few days later, he married Texas socialite Ria Franklin Prentiss Lucas Langham. After moving to California, they were married again in 1931, possibly due to differences in state legal requirements.

"His ears are too big and he looks like an ape," said Warner Bros. executive Darryl F. Zanuck about Clark Gable after testing him for the lead in Warner's gangster drama Little Caesar (1931). After several failed screen tests for Barrymore and Zanuck, Gable was signed in 1930 by MGM's Irving Thalberg. He became a client of well-connected agent Minna Wallis, sister of producer Hal Wallis and very close friend of Norma Shearer.

Gable's timing in arriving in Hollywood was excellent as MGM was looking to expand its stable of male stars and he fit the bill. Gable then worked mainly in supporting roles, often as the villain. MGM's publicity manager Howard Strickland developed Gable's studio image, playing up his he-man experiences and his 'lumberjack in evening clothes' persona. To bolster his rocketing popularity, MGM frequently paired him with well-established female stars. Joan Crawford asked for him as her co-star in Dance, Fools, Dance (1931). He built his fame and public visibility in such movies as A Free Soul (1931), in which he played a gangster who slapped the character played by Norma Shearer (Gable never played a supporting role again after that slap). The Hollywood Reporter wrote "A star in the making has been made, one that, to our reckoning, will outdraw every other star... Never have we seen audiences work themselves into such enthusiasm as when Clark Gable walks on the screen". He followed that with Susan Lenox (Her Fall and Rise) (1931) with Greta Garbo, and Possessed (1931), in which he and Joan Crawford (then married to Douglas Fairbanks, Jr.) steamed up the screen with some of the passion they shared for decades to come in real life. Adela Rogers St. John later dubbed the relationship as "the affair that nearly burned Hollywood down." Louis B. Mayer threatened to terminate both their contracts and for a while they kept apart and Gable shifted his attentions to Marion Davies. On the other hand, Gable and Garbo disliked each other. She thought he was a wooden actor while he considered her a snob.

Rising star

in It Happened One Night (1934)]] Gable was considered for the role of Tarzan but lost out to Johnny Weissmuller's better physique and superior swimming prowess. However Gable's unshaven lovemaking with bra-less Jean Harlow in Red Dust (1932) soon made him MGM's most important star. After the hit Hold Your Man (1933), MGM recognized the goldmine of the Gable-Harlow pairing, putting them in two more films, China Seas (1935) and Wife vs. Secretary (1936). An enormously popular combination, on-screen and off-screen, Gable and Jean Harlow made six films together, the most notable being Red Dust (1932) and Saratoga (1937). Harlow died of kidney failure during production of Saratoga. Ninety percent completed, the remaining scenes were filmed with long shots or doubles; Gable would say that he felt as if he were "in the arms of a ghost".

According to legend, Gable was lent to Columbia Pictures, then considered a second-rate operation, as punishment for refusing roles; however, this has been refuted by more recent biographies. MGM did not have a project ready for Gable and was paying him $2000 per week, under his contract, to do nothing. Studio head Louis B. Mayer lent him to Columbia for $2500 per week, making a $500 per week profit. Filming began in a tense atmosphere, in the trailer for Mutiny on the Bounty (1935)]] Gable won the Academy Award for Best Actor for his 1934 performance in the film. He returned to MGM a bigger star than ever.

The unpublished memoirs of animator Friz Freleng mention that this was one of his favorite films. It has been claimed that it helped inspire the cartoon character Bugs Bunny. Four things in the film may have coalesced to create Bugs: the personality of a minor character, Oscar Shapely and his penchant for referring to Gable's character as "Doc", an imaginary character named "Bugs Dooley" that Gable's character uses to frighten Shapely, and most of all, a scene in which Clark Gable eats carrots while talking quickly with his mouth full, as Bugs does.

Gable also earned an Academy Award nomination when he portrayed Fletcher Christian in 1935's Mutiny on the Bounty. Gable once said that this was his favorite film of his own, despite the fact that he did not get along with his co-stars Charles Laughton and Franchot Tone.

In the following years, he acted in a succession of enormously popular pictures, earning him the undisputed title of "King of Hollywood" in 1938. The title 'King' was first offered by Spencer Tracy, probably in jest but soon Ed Sullivan started a poll in his newspaper column and more than 20 million fans voted Gable 'King' and Myrna Loy 'Queen' of Hollywood. Though the honorific certainly helped his career, Gable grew tired of it and later stated, "This 'King' stuff is pure bullshit...I'm just a lucky slob from Ohio. I happened to be in the right place at the right time". Throughout most of the 1930s and the early 1940s, he was arguably the world's biggest movie star.

Gone with the Wind

Despite his reluctance to play the role, Gable is best known for his performance in Gone with the Wind (1939), which earned him an Academy Award nomination for Best Actor. Carole Lombard may have been the first to suggest that he play Rhett Butler (and she play Scarlett) when she bought him a copy of the bestseller, which he refused to read. in the trailer for Gone with the Wind (1939)]] Gable was an almost immediate favorite for the role of Rhett with both the public and producer David O. Selznick. But since Selznick had no male stars under long-term contracts, he needed to go through the process of negotiating to borrow an actor from another studio. Gary Cooper was Selznick's first choice. When Cooper turned down the role of Butler, he was quoted as saying, "Gone With the Wind is going to be the biggest flop in Hollywood history. I’m glad it’ll be Clark Gable who’s falling flat on his nose, not me." By then, Selznick had become determined to hire Gable, and set about finding a way to borrow him from Metro-Goldwyn-Mayer. Gable was wary of potentially disappointing an audience that had decided that no one else could play the part. He later conceded, "I think I know now how a fly must react after being caught in a spider's web." Gone with the Wind was Gable's first film that was shot in Technicolor. Also appearing in Gone With The Wind in the role of "Aunt Pittypat" was Laura Hope Crews, the friend in Portland who had coaxed Gable back into the theater.

During the filming of the movie, Vivien Leigh complained about Gable's bad breath, which was apparently caused by his false teeth. Otherwise, they got along quite well. Gable's most famous line in any film was his closing, "Frankly, my dear, I don't give a damn".

Gable was also reportedly friends with the African-American actress Hattie McDaniel, and he even slipped her a real alcoholic drink during the scene they were supposed to be celebrating the birth of Scarlett and Rhett's daughter. Gable also tried to boycott the premier of Gone with the Wind in Atlanta, Georgia, because McDaniel was not allowed to attend it, and he only went after she pleaded with him to go. Gable remained friends with McDaniel, and he always attended her Hollywood parties, especially when she was raising funds for World War II.

Gable did not want to shed tears for the scene after Scarlett (Leigh) has a miscarriage. Olivia de Havilland made him cry, later commenting, "... Oh, he would not do it. He would not! Victor (Fleming) tried everything with him. He tried to attack him on a professional level. We had done it without him weeping several times and then we had one last try. I said, "You can do it, I know you can do it and you will be wonderful ..." Well, by heaven, just before the cameras rolled, you could see the tears come up at his eyes and he played the scene unforgettably well. He put his whole heart into it."

Decades later, Gable said that whenever his career would start to fade, a re-release of Gone with the Wind would soon revive his popularity, and he continued as a top leading actor for the rest of his life. In addition, Gable was one of the few actors to play the lead in three films that won the Academy Award for Best Picture.

Gone with the Wind was given theatrical re-releases in 1947, 1954, 1961, 1967 (in a widescreen version), 1971, 1989, and 1998.

Personal life

Marriage to Carole Lombard

Gable's marriage in 1939 to his third wife, the successful American actress Carole Lombard, was the happiest period of his personal life. As an independent actress, her annual income exceeded his studio salary until Gone with the Wind brought them to rough parity. From their marriage, she gained personal stability that she had lacked, and he thrived being around her with her youthful, charming, and frank personality. Lombard liked to go hunting and fishing with Gable and with his associates, and he became more sociable around her. Most times, she tolerated his philandering ways. He one or more times stated, "You can trust that little screwball with your life or your hopes or your weaknesses, and she wouldn't even know how to think about letting you down." The Gables purchased a ranch at Encino, California, and once Gable had become accustomed to Lombard's often blunt way of expressing herself, they found that they had much in common, despite Gable being a Conservative Republican and Lombard a Liberal Democrat. Their efforts to have a baby were unsuccessful. Lombard got pregnant once in 1940, but she suffered a miscarriage.

On January 16, 1942, Lombard was a passenger on Trans-World Airlines Flight 3. She had just finished her 57th movie, To Be or Not to Be, and was on her way home from a successful war bond selling tour when the flight's DC-3 airliner crashed into a mountain near Las Vegas, Nevada, killing all aboard, including Lombard, her mother, and her MGM staff publicist Otto Winkler (who had been the best man at Gable's wedding to Lombard). Gable flew to the crash site, and he saw the forest fire that had been ignited by the burning airliner. Lombard was declared to be the first war-related American female casualty of World War II, and Gable received a personal condolence note from President Roosevelt. The Civil Aeronautics Board investigation into the crash concluded that "pilot error" was its cause.

Gable returned to his and Lombard's empty house, and a month later, he returned to the studio to work with Lana Turner in the movie, Somewhere I'll Find You. Gable was devastated by the tragic death of his wife for many months afterwards, and he began to drink heavily. However, he carried out his performances professionally on the movie sets. Gable was seen to break down for the first time in public when Lombard's funeral request note was given to him. For a while, Joan Crawford returned to his side to offer her support and friendship.

Gable resided for the rest of his life at his and Lombard's house in Encino. He acted in twenty-seven more movies, and he re-married twice. "But he was never the same," said Esther Williams. "His heart sank a bit."

World War II

B-17 in Britain, 1943]] :For details of Gable's combat missions, see RAF Polebrook In 1942, following Lombard's death, Gable joined the U.S. Army Air Corps. Before her death, Lombard had suggested that Gable enlist as part of the war effort, but MGM was obviously reluctant to let him go, and until her death he resisted the suggestion. Gable made a public statement after Lombard's death that prompted Commanding General of the Army Air Forces Henry H. Arnold to offer Gable a "special assignment" in aerial gunnery. Gable had earlier expressed an interest in officer candidate school (OCS), but he enlisted on August 12, 1942, with the intention of becoming an enlisted gunner on an air crew. MGM arranged for his studio friend, cinematographer Andrew McIntyre, to enlist with and accompany him through training.

However, shortly after his enlistment, he and McIntyre were sent to Miami Beach, Florida, where they entered USAAF OCS Class 42-E on August 17, 1942. Both completed training on October 28, 1942, commissioned as second lieutenants. His class of 2,600 fellow students (of which he ranked 700th in class standing) selected Gable as their graduation speaker, at which General Arnold presented them their commissions. Arnold then informed Gable of his special assignment, to make a recruiting film in combat with the Eighth Air Force to recruit gunners. Gable and McIntyre were immediately sent to Flexible Gunnery School at Tyndall Field, Florida, followed by a photography course at Fort George Wright, Washington, and promoted to first lieutenants upon completion.

After World War II

once belonging to Gable.]] Immediately after his discharge from the service, Gable returned to his ranch and rested. He resumed a pre-war relationship with Virginia Grey and dated other starlets. He introduced his golf caddie Robert Wagner to MGM casting. Gable's first movie after World War II was the 1945 production of Adventure, with his ill-matched co-star Greer Garson. It was a critical and commercial failure despite the famous teaser tagline "Gable's back and Garson's got him". After this film, Gable's career as a top star in Hollywood abruptly ended.

After Joan Crawford's third divorce, she and Gable resumed their affair and lived together for a brief time. Gable was acclaimed for his performance in The Hucksters (1947), a satire of post-war Madison Avenue corruption and immorality. A very public and brief romance with Paulette Goddard occurred after that. In 1949, Gable married Sylvia Ashley, a British divorcée and the widow of Douglas Fairbanks. The relationship was profoundly unsuccessful; they divorced in 1952. Soon followed Never Let Me Go (1953), opposite Gene Tierney. Tierney was a favorite of Gable and he was very disappointed when she was replaced in Mogambo (due to her mental health problems) by Grace Kelly. Mogambo (1953), directed by John Ford, was a Technicolor remake of his earlier film Red Dust, which had been an even greater success. Gable's on-location affair with Grace Kelly sputtered out after filming was completed.

Gable became increasingly unhappy with what he considered mediocre roles offered him by MGM, while the studio regarded his salary as excessive. Studio head Louis B. Mayer was fired in 1951 amid slumping Hollywood production and revenue, due primarily to the rising popularity of television. Studio chiefs struggled to cut costs. Many MGM stars were fired or not renewed, including Greer Garson and Judy Garland. In 1953, Gable refused to renew his contract, and began to work independently. His first two films were Soldier of Fortune and The Tall Men, both profitable though only modest successes. In 1955, Gable married his fifth wife, Kay Spreckels (née Kathleen Williams), a thrice-married former fashion model and actress who had previously been married to sugar-refining heir Adolph B. Spreckels Jr.

In 1955, Gable formed a production company with Jane Russell and her husband Bob Waterfield, and they produced The King and Four Queens, Gable's one and only production. He found producing and acting to be too taxing on his health, and he was beginning to manifest a noticeable tremor particularly in long takes. His next project was Band of Angels, with relative newcomer Sidney Poitier and Yvonne De Carlo; it was a total disaster. Newsweek said, "Here is a movie so bad that it must be seen to be disbelieved." Next he paired with Doris Day in Teacher's Pet, shot in black and white to better hide his aging face and overweight body. The film was good enough to bring Gable more film offers, including Run Silent, Run Deep, with co-star and producer Burt Lancaster, which featured his first on screen death since 1937, and which garnered good reviews. Gable started to receive television offers but rejected them outright, even though some of his peers, like his old flame Loretta Young, were flourishing in the new medium. At 57, Gable finally acknowledged, "Now it's time I acted my age". His next two films were light comedies for Paramount: But Not for Me with Carroll Baker and It Started in Naples with Sophia Loren (his last film in color). Both received poor reviews and flopped at the box office.

Gable's last film was The Misfits, written by Arthur Miller, directed by John Huston, and co-starring Marilyn Monroe, Eli Wallach, and Montgomery Clift. This was also the final film completed by Monroe. Many critics regard Gable's performance to be his finest, and Gable, after seeing the rough cuts, agreed.

Politics

Gable was politically conservative, though he never publicly spoke about politics. His third wife Carole Lombard was an activist liberal Democrat, and she cajoled him into supporting Democratic President Franklin D. Roosevelt and the New Deal. In 1944, he became an early member of the conservative Motion Picture Alliance for the Preservation of American Ideals, alongside Ronald Reagan, John Wayne, Gary Cooper, and other conservative actors and filmmakers. In February 1952, he attended a televised rally in New York where he enthusiastically urged General Dwight D. Eisenhower to run for President. This was when Eisenhower was still being sought by both parties as their candidate. Despite having suffered a severe coronary thrombosis, Gable still managed to vote by post in the 1960 presidential election. It is believed that he probably voted for the Republican candidate, and Eisenhower's vice-president, Richard Nixon.

Children

Gable had a daughter, Judy Lewis, the result of an affair with actress Loretta Young that began on the set of The Call of the Wild in 1934. In an elaborate scheme, Young took an extended vacation and went to Europe to hide the fact that she was pregnant. After a few months, she came back to California and gave birth to their child in Venice. Nineteen months after the birth, Loretta claimed to have adopted Judy. This ploy became less believable when the child grew up to look like her mother and Clark Gable. Judy had Gable's big ears that stuck out, as well as his eyes and smile.

According to Lewis, Gable visited her home once, but he didn't tell her that he was her father. Neither Gable nor Young would ever publicly acknowledge their daughter's real parentage, but this fact was so widely known that, in Lewis' autobiography Uncommon Knowledge, she wrote that she was shocked to learn of it from other children at school. Loretta Young never officially acknowledged the fact, which she said would be the same as admitting to a "venial sin." However, she finally gave her biographer permission to include it only on the condition that the book not be published until after her death.

On March 20, 1961, Kay Gable gave birth to Gable's son, John Clark Gable, born four months after Clark's death.

Death

Gable died in Los Angeles, California on November 16, 1960, the result of a coronary thrombosis ten days after suffering a severe heart attack. There was much speculation that Gable's physically demanding role in The Misfits contributed to his sudden death soon after filming was completed. In an interview with Louella Parsons, published soon after Gable's death, Kay Gable was quoted as saying "It wasn't the physical exertion that killed him. It was the horrible tension, the eternal waiting, waiting, waiting. He waited around forever, for everybody. He'd get so angry that he'd just go ahead and do anything to keep occupied." Monroe said that she and Kay had become close during the filming and would refer to Clark as "Our Man",

Longtime friend, eight time co-star and on-again, off-again romance Joan Crawford concurred, stating on David Frost's TV show in 1970, "he was a king wherever he went. He walked like one, he behaved like one, and he was the most masculine man that I have ever met in my life."

Actor Robert Ryan, in character as Nathan Stark in the 1955 film: "The Tall Men" paid Gable what is probably his best tribute: "He's what every boy thinks he's going to be when he grows up, and wishes he had been when he's an old man."

Robert Taylor said Gable "was a great, great guy and certainly one of the great stars of all times, if not the greatest. I think that I sincerely doubt that there will ever be another like Clark Gable, he was one of a kind."

Filmography

Gable is known to have appeared as an extra in 13 films between 1924 and 1930. He then appeared in a total of 67 theatrically released motion pictures, as himself in 17 "short subject" films, and he narrated and appeared in a World War II propaganda film entitled Combat America, produced by the United States Army Air Forces.

In popular culture

Warner Bros. cartoons sometimes caricatured Gable. Examples include Have You Got Any Castles? (in which his face appears seven times from inside the novel The House of the Seven Gables), The Coo-Coo Nut Grove (in which his ears flap on their own), Hollywood Steps Out (in which he follows an enigmatic woman), and Cats Don't Dance in which he appears on a billboard promotion for Gone With The Wind.

In the film Broadway Melody of 1938 (1937) 15-year-old Judy Garland sings "You Made Me Love You" while looking at a composite picture of Clark Gable. The opening lines are: "Dear Mr. Gable, I am writing this to you, and I hope that you will read it so you'll know, my heart beats like a hammer, and I stutter and I stammer, every time I see you at the picture show, I guess I'm just another fan of yours, and I thought I'd write and tell you so. You made me love you, I didn't want to do it, I didn't want to do it..."

Bugs Bunny's nonchalant carrot-chewing standing position, as explained by Chuck Jones, Friz Freleng, and Bob Clampett, originated in a scene in the film It Happened One Night, in which Clark Gable's character leans against a fence, eating carrots rapidly and talking with his mouth full to Claudette Colbert's character. This scene was well known while the film was popular, and viewers at the time likely recognized Bugs Bunny's behavior as satire.

The Postal Service's album Give Up (2003) features a track entitled "Clark Gable."

In the 1999 pop song Girl on TV by LFO he is referenced in the song:

I wished for you on a falling star wondering where you are do I ever cross your mind in the warm sunshine? She's from the city of angels like Bette Davis, James Dean, and Gable.

Portrayals

James Brolin in Gable and Lombard (1976)

Gene Daily in The Rocketeer (1991)

Bruce Hughes and Shayne Greenman in Blonde (2001)

Charles Unwin in Lucy (2003)

Larry Pennell in Marilyn: The Untold Story (1980)

Edward Winter in (1980)

Boyd Holister in Grace Kelly (1983)

Gary Wayne in Malice in Wonderland (1985)

Bibliography

Harris, Warren G. (2002). Clark Gable: A Biography. New York: Harmony. ISBN 0-609-60495-3.

Lewis, Judy. Uncommon Knowledge (book by Gable's daughter with Loretta Young). (Pocket Books/Simon & Schuster 1994), ISBN 0-671-70019-7

Spicer, Chrystopher (2002). Clark Gable: Biography, Filmography, Bibliography. Jefferson, North Carolina: McFarland & Company. ISBN 0-7864-1124-4.

Clark Gable in the 8th Air Force, Air Power History, Spring 1999

References

External links

Snopes on the false rumor of Gable killing a pedestrian while he was driving drunk

Combat America at the Internet Archive:

* Part 1

* Part 2

* Part 3

* Part 4

Clark Gable: Biographie, filmographie, galerie, etc

Official Site of daughter Judy Lewis with extensive Clark Gable photo gallery

Category:1901 births Category:1960 deaths Category:20th-century actors Category:People from Cadiz, Ohio Category:Actors from Ohio Category:American film actors Category:American military personnel of World War II Category:Recipients of the Air Medal Category:American Roman Catholics Category:American silent film actors Category:Best Actor Academy Award winners Category:Burials at Forest Lawn Memorial Park (Glendale) Category:California Republicans Category:Deaths from myocardial infarction Category:American actors of German descent Category:American people of Irish descent Category:Kentucky colonels Category:Ohio Republicans Category:People from Akron, Ohio Category:Recipients of the Distinguished Flying Cross (United States) Category:United States Army Air Forces officers Category:First Motion Picture Unit personnel

Name	Billy Barty
Birth name	William John Bertanzetti
Birth date	October 25, 1924
Birth place	Millsboro, Pennsylvania, U.S.
Death date	December 23, 2000
Death place	Glendale, California, U.S.
Occupation	Actor
Years active	1927–2000
Spouse	his death

Billy Barty (October 25, 1924 – December 23, 2000) was an American film actor.

Biography

Barty, an Italian American, was born William John Bertanzetti in Millsboro, Pennsylvania. He co-starred with Mickey Rooney in the Mickey McGuire shorts, a comedy series of the 1920s and 1930s based on the "Toonervile Trolley" comics, and similar in tone to the "Our Gang"/"Little Rascals" comedies. In The Gold Diggers of 1933, a nine-year-old Barty appeared as a baby who escapes from his stroller. He also appeared as The Child in "Footlight Parade" (1933). Because of his stature, much of his work consisted of bit parts and gag roles, although he was featured prominently in The Day of the Locust (1975), W.C. Fields and Me (1976), The Happy Hooker Goes to Washington (1977), Foul Play and The Lord of the Rings (both 1978), Under the Rainbow (1981), Night Patrol (1984), Legend (1985), Masters of the Universe (1987), Willow (1988), UHF (1989), Life Stinks and Radioland Murders (1994). Barty was known for his boundless energy and enthusiasm for any productions in which he appeared. He also performed a remarkable impression of pianist Liberace. He performed with the Spike Jones musical comedy show on stage and television, including Club Oasis on NBC. Barty played the evil sidekick on the 1970s Saturday morning TV series Dr. Shrinker. He was regularly seen on the Canadian comedy show Bizarre, a weekly Canadian TV sketch comedy series, airing from 1980 to 1985. The show was hosted by John Byner.

Barty also starred in a local Southern California children's show, "Billy Barty's Bigtop," in the mid-1960s, which regularly showed The Three Stooges shorts. In one program, Stooge Moe Howard visited the set as a surprise guest. The program gave many Los Angeles-area children their first opportunity to become familiar with little people, who until then had been rarely glimpsed on the screen except as two-dimensional curiosities.

Barty also starred as "Sigmund" in the popular children's television show "Sigmund and the Sea Monsters" produced by Sid and Marty Krofft in 1974-1976. In 1983, Barty supplied the voice for Figment in EPCOT Center's Journey Into Imagination dark ride. He subsequently supplied a reprisal for the second incarnation, though very brief.

Barty was a noted activist for the promotion of rights for others with dwarfism. He was disappointed with contemporary Hervé Villechaize's insistence that they were "midgets" instead of actors with dwarfism. Barty founded the Little People of America to help with his activism.

Barty was married to Shirley Bolingbroke of Malad City, Idaho, from 1962 until his death. They had two children, Lori Neilson and TV/film producer and director Braden Barty.

Barty and his family belonged to The Church of Jesus Christ of Latter-day Saints.

A tribute book on his life was published in December 2002. Within Reach: An Inspirational Journey into the Life, Legacy and Influence of Billy Barty was produced by Barty's nephew, Michael Copeland, and Michael's wife, Debra.

Barty was a beloved annual guest-star on Canada's Telemiracle telethon, one of the most successful (per capita) telethons in the world.

Death

Barty died of heart failure in 2000 at age 76. He was entombed in Glendale's Forest Lawn Memorial Park Cemetery.

Quotes

"The name of my condition is cartilage hair hypoplasia, but you can just call me Billy."

"The general public thinks all little people are in circuses or sideshows. We have doctors, nurses, just about every field covered."

Trivia

Owned a rollerskating rink in Fullerton, California, called "Billy Barty's Roller Fantasy". A movie started shooting there in the mid 80's but was never completed.

References

External links

Official site, Billy Barty & Friends

Tribute to Barty from Meridian Magazine (LDS periodical)

Tribute by Mark Evanier

Billy does Liberace

Category:1924 births Category:2000 deaths Category:Actors from Pennsylvania Category:Actors with dwarfism Category:American film actors Category:American Latter Day Saints Category:American people of Italian descent Category:American television actors Category:American voice actors Category:California State University, Los Angeles alumni Category:Cardiovascular disease deaths in California

Name	Amanda Peterson
Birth name	Amanda Peterson
Birth date	July 08, 1971
Other names	Mandy Peterson
Birth place	Greeley, Colorado, U.S.
Occupation	Actress
Years active	1982–1995

Amanda Peterson (born July 8, 1971) is an American actress. Peterson gained fame during the late 1980s when she portrayed Cindy Mancini, a Tucson, Arizona high-school student, in the movie Can't Buy Me Love.

Career

Prior to the success of Can't Buy Me Love, Peterson made TV appearances in Father Murphy and Silver Spoons. She had a small role in the 1982 movie version of Annie before getting a starring role in the 1985 film Explorers. In the 1983–1984 season, she appeared as Squirt Sawyer on NBC's short-lived Boone starring Tom Byrd and Barry Corbin.

In 1987, she portrayed Sunny, the granddaughter of patriarch Joe Gardner (Richard Kiley) in the series A Year in the Life. Later that year, she and co-star Patrick Dempsey obtained teen idol status after the release of Can't Buy Me Love. Peterson and Dempsey subsequently appeared on covers of teen magazines such as Tiger Beat, Teen Beat and many others for a considerable amount of time. Peterson went on to make other movies, none of which have achieved the box-office success of Can't Buy Me Love. Peterson left acting after her last screen appearance in the 1995 film, Windrunner.

Filmography

{| class="wikitable sortable" |+Film |- ! Year ! Title ! Role ! class="unsortable" | Notes |- | 1982 | Annie | Dancer | Credited as Mandy Peterson |- | 1985 | Explorers | Lori Swenson | |- | 1987 | Can't Buy Me Love | Cindy Mancini | Alternative title: Boy Rents Girl |- | 1988 | | Diana | |- | 1989 | Listen to Me | Donna Lumis | |- | 1995 | Windrunner | Julie Moore | Alternative title: Windrunner: A Spirited Journey |- |}

Television

{| class="wikitable sortable" |+Television |- ! Year ! Title ! Role ! class="unsortable" | Notes |- | 1982 | Father Murphy | Elizabeth | Episode: "Matthew and Elizabeth" |- | 1982 | Silver Spoons | Sally Frumbel | Episode: "Takin' a Chance on Love" |- | 1983 | Boone | Squirt Sawyer | Episode: "Words and Music" |- | 1984 | Best Kept Secrets | Gretchen | Television movie |- | 1985 | And the Children Shall Lead | Jenny | Television movieAlternative title: Wonderworks: And the Children Shall Lead |- | 1986 | | Sunny Sisk | Miniseries |- | 1986 | Carly Mills | Trisha Mills | Television movie |- | 1987–1988 | | Sunny Sisk | 22 episodes |- | 1989 | Love and Betrayal | Stephanie | Television movieAlternative title: Throw Away Wives |- | 1990 | Doogie Howser, M.D. | Bernadette Callen | Episode: "Vinnie's Blind Date" |- | 1990 | Fatal Charm | Valerie | Television movie |- | 1991 | Hell Hath No Fury | Michelle Ferguson | Television movie |- | 1991 | Posing: Inspired by Three Real Stories | Abigail Baywood | Television movieAlternative title: I Posed for Playboy |}

Awards and nominations

{| class="wikitable sortable" |+Awards |- ! Year ! Award ! Category ! Title of work ! Result |- | 1984 | Young Artist Award | Best Young Actress in a New Television Series | Boone | Nominated |- | 1985 | Young Artist Award | Best Young Supporting Actress in a Daytime or Nighttime Drama | Boone | Nominated |- | 1986 | Young Artist Award | Best Starring Performance by a Young Actress – Motion Picture | Explorers | Nominated |- | 1988 | Young Artist Award | Best Young Actress in a Motion Picture – Comedy | Can't Buy Me Love | Nominated |- | 1988 | Young Artist Award | Best Young Actress Starring in a Television Drama Series | | Won |}

References

External links

Category:1971 births Category:Living people Category:Actors from Colorado Category:American child actors Category:American film actors Category:American television actors Category:People from Greeley, Colorado

Category:Middlebury College alumni