Andy Clyde (March 25, 1892 — May 18, 1967) was a Scottish movie and TV actor whose career spanned more than four decades. He broke into silent films in 1925 as a Mack Sennett comic. Born Andrew Allan Clyde, he was the fifth of six children of Scottish theatrical actor, producer and manager John Clyde.^[1] Both his brother David and sister Jean also became screen actors.^[2][3]

Career[link]

Andy Clyde first went to America in 1912 on tour in a company performing a play called The Concealed Bed. At the invitation of his close friend James Finlayson, he went back to the United States in the early 1920s to join producer Mack Sennett's roster of comedians.^[4]

Clyde's mastery of makeup allowed him tremendous versatility; he could play everything from grubby young guttersnipes to old crackpot scientists. He hit upon an "old man" characterization in his short comedies, which were immediately successful. Adopting a gray wig and mustache, he used this makeup for the rest of his short-subject career, and the character was so durable that he literally grew into it. He starred in short comedies longer than any other actor: 27 years.

He remained with Mack Sennett and made a successful transition to sound films. In 1932, when the Sennett studio was facing financial problems, Sennett cut Clyde's salary. Clyde objected and Sennett put the "old man" costume on character actor Irving Bacon. Audiences saw through it and Sennett abandoned the character. Sennett's distributor, Educational Pictures, took over the Andy Clyde series, which continued for two more years.

Columbia Pictures launched its short subject department in 1934 and Andy Clyde was one of the first comedy stars signed by producer Jules White. Unlike many of the Columbia short-subject comedians who indulged in broad facial and physical gestures, Clyde was subtler and more economical: his comic timing was so good that he could merely lift an eyebrow, shudder slightly, or mutter "My, my, my" for humorous effect. His work for Columbia was so prolific that, from the mid-1940s, the studio was able to produce lower-budgeted remakes, editing older scenes into the new ones. You Were Never Uglier (1944) was remade with the same principals in 1953 as Hooked and Rooked, for example. Clyde was such an audience favorite that he continued to star in Columbia shorts through 1956. He outlasted every comedian on the Columbia payroll except The Three Stooges.^[5]

Andy Clyde also kept busy as a character actor in feature films; for example, he played a sad provincial postman in the Katharine Hepburn film The Little Minister and Charles Coburn's drinking buddy in The Green Years. In the 1940s, he gravitated toward outdoor and western adventures. Clyde is well remembered for his roles as a comic sidekick, usually teaming with William Boyd in the Hopalong Cassidy series (as "California Carlson") or with Whip Wilson in Monogram Pictures' low-budget western movies (as "Winks").^[5] Clyde also worked on the Hopalong Cassidy "record readers" issued by Capitol Records in the 1950s.^[6]

Clyde's last theatrical film was released in 1956, after which he worked in television, having appeared on Rod Cameron's early syndicated series City Detective. He also had recurring roles on CBS's Lassie and ABC's The Real McCoys. In the latter he was the foil for another veteran character actor, Walter Brennan; Clyde played friendly neighbor "George McMichael" to Brennan's "Grandpa Amos McCoy." Madge Blake played Flora, the sister of George McMichael, on The Real McCoys. As Frank Myers on The Andy Griffith Show (1961), Clyde played Henry Squires in a 1962 Gunsmoke titled Durham Bull. Clyde played an eccentric old man who the town tries to evict. Clyde appeared as "Grandpa", a series regular, on the 1964-1965 ABC military comedy No Time for Sergeants, starring Sammy Jackson. The series was inspired by an earlier Andy Griffith film of the same name.

Personal life[link]

Clyde married Elsie Maud Tarron, once one of the Sennett Bathing Beauties, on 23 September 1932 in Ontario, San Bernadino, California.^[4] Jules White recalled that Clyde became a father in middle age, and was devastated when his nine-year-old son John Allan Clyde died.^[4]

Clyde continued to perform on television until his death.^[5]

Andy Clyde has a star on the Hollywood Walk of Fame.

References[link]

External links[link]

• Andy Clyde at the Internet Movie Database
• Andy Clyde at Find a Grave
• Andy Clyde's entry on Helensburgh Heroes website

Billy Bevan
Born	(1887-09-29)29 September 1887 Orange, New South Wales, Australia
Died	26 November 1957(1957-11-26) (aged 70) Escondido, California
Other names	William Bevan Bill Bevans Bill Bivens
Years active	1916–50
Spouse	Leona Roberts (1917–52) 2 children

Billy Bevan (born William Bevan Harris, 29 September 1887 – 26 November 1957) was an Australian film actor. He appeared in 254 American films between 1916 and 1950.

Bevan was born in the country town of Orange, New South Wales, Australia. He went on the stage at an early age, travelled to Sydney and spent eight years in Australian light opera. He sailed to America with the Pollard Opera Company in 1912 and later toured Canada. Bevan broke into films with the Sigmund Lubin studio in 1916. When the company disbanded, Bevan became a supporting actor in Mack Sennett movie comedies. An expressive pantomimist, Bevan's quiet scene-stealing attracted attention, and by 1922 Bevan was a Sennett star. He supplemented his income, however, by establishing a citrus and avocado farm at Recondido, California.

Usually filmed wearing a derby hat and a drooping mustache, Bevan may not have possessed an indelible screen character like Charlie Chaplin but he had a friendly, funny presence in the frantic Sennett comedies. Much of the comedy depended on Bevan's skilled timing and reactions; the famous "oyster" routine performed on film by Curly Howard, Lou Costello, and Huntz Hall—in which a bowl of "fresh oyster stew" shows alarming signs of life and battles the guy trying to eat it—was originated on film decades earlier by Bevan in the short film Wandering Willies.

By the mid-1920s Bevan was often teamed with Andy Clyde; Clyde soon graduated to his own starring series. The late 1920s found Bevan playing in wild marital farces for Sennett.

Talking pictures took their toll on the careers of many silent stars, including Billy Bevan. His Australian accent came across as British, but was sufficiently neutral that he could play nondescript character parts (like a hotel employee in the Mae Murray talkie Peacock Alley). His starring series came to an end, however, and Bevan began a second career as a character actor and bit player. For the next 20 years he often played rowdy Cockneys (as in Pack Up Your Troubles with The Ritz Brothers), and affable Englishmen (as in Tin Pan Alley and Terror by Night).

Bevan died in 1957 in Escondido, California, just before new audiences discovered him in Robert Youngson's silent-comedy compilations. (The Youngson films mispronounce his name as "Be-VAN"; Bevan himself offered the proper pronunciation in a Voice of Hollywood reel in 1930.)

Selected filmography[link]

• Distilled Love (1920)
• Astray from the Steerage (1921)
• Gymnasium Jim (1922)
• Oh, Daddy! (1922)
• The Extra Girl (1923)
• Riley the Cop (1928)
• High Voltage (1929)
• Transatlantic (1931)
• Cavalcade (1933)
• The Lost Patrol (1934)
• A Tale of Two Cities (1935)
• Mr. Deeds Goes to Town (1936)
• The Girl of the Golden West (1938)
• Rebecca (1940)
• The Earl of Chicago (1940)
• Dr. Jekyll and Mr. Hyde (1941)
• Shining Victory (1941)
• Mrs. Miniver (1942)
• Counter-Espionage (1942)
• The Invisible Man's Revenge (1944)
• The Pearl of Death (1944)
• The Picture of Dorian Gray (1945)
• Terror by Night (1946)
• Rogues of Sherwood Forest (1950)

Gallery[link]

• 

  Billy Bevan and Mack Sennett Bathing Beauties, 1920s

• 

  Scene from Oh! Daddy!, featuring Billy Bevan (bottom) and Mildred June, 1922

External links[link]

• Billy Bevan at the Internet Movie Database

Persondata
Name	Bevan, Billy
Alternative names
Short description	Actor
Date of birth	29 September 1887
Place of birth	Orange, New South Wales  Australia
Date of death	26 November 1957
Place of death	Escondido, California  United States

Shirley Jane Temple
Sixteen-year-old Temple in 1944 in Ottawa, Ontario, Canada, at a ceremony to raise money for Canadian Victory bonds.
Born	Shirley Jane Temple[note 1] (1928-04-23) April 23, 1928 (age 84) Santa Monica, California
Residence	Woodside, California
Other names	Shirley Jane Temple
Education	Tutors; Private high school
Alma mater	Westlake School for Girls (1940-1945)
Occupation	Film actress (1932-1950) TV actress/entertainer (1958-1965) Public servant (1969-1992)
Years active	1932-1950 as actress
Known for	Juvenile film roles
Notable work(s)	Bright Eyes; The Little Colonel; Curly Top; Wee Willie Winkie; Heidi; The Little Princess; Since You Went Away; The Bachelor and the Bobby-Soxer; Fort Apache; Shirley Temple's Storybook; Child Star; et. al. Often confused for playing in Annie although she was not a part of that production.
Home town	Los Angeles, California
Television	Shirley Temple's Storybook (1958-1958); The Shirley Temple Show (1960-1961)
Political party	Republican
Religion	Methodist
Spouse	John Agar (m. 1945-1950; divorced) Charles Alden Black (m. 1950-2005; his death)
Children	Linda Susan (Linda Susan Agar) Charlie Jr. (Barton Sunday) Lori Alden Black
Parents	George Francis Temple, Gertrude (nee Krieger) Temple
Relatives	Brothers John Stanley, George Francis, Jr.
Awards	Academy Award Kennedy Center Honors Screen Actors Guild Life Achievement Award
Website
www.shirleytemple.com

Shirley Jane Temple (born April 23, 1928), later Shirley Temple Black, is an American film and television actress, singer, dancer, autobiographer, and former U.S. Ambassador to Ghana and Czechoslovakia. She began her film career in 1932 at the age of three, and in 1934, found international fame in Bright Eyes, a feature film designed specifically for her talents. She received a special Juvenile Academy Award in February 1935, and film hits such as Curly Top and Heidi followed year after year during the mid-to-late 1930s. Licensed merchandise that capitalized on her wholesome image included dolls, dishes, and clothing. Her box office popularity waned as she reached adolescence, and she left the film industry at the age of 12 to attend high school^{[clarification needed]}. She appeared in a few films of varying quality in her mid-to-late teens, and retired completely from films in 1950 at the age of 22. She was the top box-office draw four years in a row (1935–38) in a Motion Picture Herald poll.^[1][2]

Temple returned to show business in 1958 with a two-season television anthology series of fairy tale adaptations. She made guest appearances on various television shows in the early 1960s and filmed a sitcom pilot that was never released. She sat on the boards of many corporations and organizations including The Walt Disney Company, Del Monte Foods, and the National Wildlife Federation. In 1967, she ran unsuccessfully for United States Congress, and was appointed United States Ambassador to Ghana in 1974 and to Czechoslovakia in 1989. In 1988, she published her autobiography, Child Star. Temple is the recipient of many awards and honors including Kennedy Center Honors and a Screen Actors Guild Life Achievement Award.

Early years[link]

Shirley Jane Temple was born on April 23, 1928 in Santa Monica, California. She is the daughter of Gertrude Amelia Temple (née Krieger), a homemaker, and George Francis Temple, a bank employee. The family was of German, Dutch, and English ancestry.^[3][4] She had two brothers, George Francis, Jr. and John Stanley.^[4][5][6] Mrs. Temple encouraged her infant daughter's singing, dancing, and acting talents, and in September 1931 enrolled her in Meglin's Dance School in Los Angeles, California.^[7][8][9] About this time, she began styling Shirley's hair in ringlets similar to those of silent film star Mary Pickford.^[10]

In January 1932, Temple was signed by Educational Pictures following a talent search at the dance school. She appeared in a series of one-reelers called Baby Burlesks,^{[11][12][13][14]} and a series of two-reelers called Frolics of Youth playing Mary Lou Rogers, a youngster in a contemporary suburban family.^[15] To underwrite production costs at Educational, Temple and her child co-stars modeled for breakfast cereals and other products.^[16][17] She was loaned to Tower Productions for a small role in her first feature film Red-Haired Alibi in 1932,^[18][19] and, in 1933, to Universal, Paramount, and Warner Bros. for various bit parts.^[20][21]

Fox films[link]

Temple's hand and foot prints at Grauman's Chinese Theater

Educational Pictures declared bankruptcy in 1933 and Temple signed with Fox Films in February 1934.^[22][23] She appeared in bit parts and was loaned to Paramount and Warner Bros for bit parts.^[24] In April 1934, Stand Up and Cheer! became Temple's breakthrough film. Her charm was evident to Fox heads and she was promoted well before the film's release. Within months, she became the symbol of wholesome family entertainment.^[25] Her salary was raised to $1,250 a week, and her mother's to $150 as coach and hairdresser.^[26] In June, her success continued with a loan-out to Paramount for Little Miss Marker.^[27][28]

On December 28, 1934, Bright Eyes was released. It was the first feature film crafted specifically for Shirley's talents and the first in which her name appeared above the title.^[29][30] Her signature song "On the Good Ship Lollipop" was introduced in the film and sold 500,000 sheet music copies. The film demonstrated Temple's ability to portray a multi-dimensional character and established a formula for her future roles as a lovable, parentless waif whose charm and sweetness mellow gruff older men.^[31] In February 1935, Temple became the first child star to be honored with a miniature Juvenile Oscar for her 1934 film accomplishments,^{[32][33][34][note 2]} and added her foot and hand prints to the forecourt at Grauman's Chinese Theatre a month later.^[35]

Twentieth Century Fox[link]

Fox Films merged with Twentieth Century Pictures to become Twentieth Century-Fox in 1934. Producer and studio head Darryl F. Zanuck focused his attention and resources upon cultivating Temple's superstar status. With four successful films to her credit, she was the studio's greatest asset. Nineteen writers known as the Shirley Temple Story Development team created 11 original stories and some adaptations of the classics for her.^{[36][note 3]}

Biographer Anne Edwards writes about the tone and tenor of Temple films under Zanuck, "This was mid-Depression, and schemes proliferated for the care of the needy and the regeneration of the fallen. But they all required endless paperwork and demeaning, hours-long queues, at the end of which an exhausted, nettled social worker dealt with each person as a faceless number. Shirley offered a natural solution: to open one's heart."^[37] Edwards points out that the characters created for Temple would change the lives of the cold, the hardened, and even the criminal with positive results.^[37] Edwards quotes a nameless filmographer: "She assaults, penetrates, and opens [the flinty characters] making it possible for them to give of themselves. All of this returns upon her at times forcing her into situations where she must decide who needs her most. It is her agony, her cavalry, and it brings her to her most despairing moments ... Shirley's capacity for love ... was indiscriminate, extending to pinched misers or to common hobos, it was a social, even a political, force on a par with democracy or the Constitution."^[38] Temple films were seen as generating hope and optimism, and President Franklin D. Roosevelt said, "It is a splendid thing that for just fifteen cents an American can go to a movie and look at the smiling face of a baby and forget his troubles."^{[39][note 4]}

First Lady Eleanor Roosevelt and Shirley Temple in July 1938

Most films Temple starred in were cheaply made at $200,000 or $300,000 per picture and were comedy-dramas with songs and dances added, sentimental and melodramatic situations aplenty, and little in the way of production values. Her film titles are a clue to the way she was marketed—Curly Top and Dimples, and her "little" pictures such as The Little Colonel and The Littlest Rebel. Temple often played a fixer-upper, a precocious Cupid, or the good fairy in these films, reuniting her estranged parents or smoothing out the wrinkles in the romances of young couples. She was very often motherless, sometimes fatherless, and sometimes an orphan confined to a dreary asylum.^[40] Elements of the traditional fairy tale were woven into her films: wholesome goodness triumphing over meanness and evil, for example, or wealth over poverty, marriage over divorce, or a booming economy over a depressed one.^[41] As Temple matured into a pre-adolescent, the formula was altered slightly to encourage her naturalness, naïveté, and tomboyishness to come forth and shine while her infant innocence, which had served her well at six but was inappropriate for her tweens (or later childhood years), was toned down.^[40]

1935–1937[link]

At Zanuck's request, Temple's parents agreed to four films a year from their daughter (rather than the three they wished), and the child star's contract was reworked with bonuses to sweeten the deal. A succession of films followed: The Little Colonel, Our Little Girl, Curly Top, and The Littlest Rebel in 1935. Curly Top and The Littlest Rebel were named to Variety's list of top box office draws for 1935.^[42] In 1936, Captain January, Poor Little Rich Girl, Dimples,^{[note 5]} and Stowaway were released.

Based on Temple's many screen successes, Zanuck increased budgets and production values for her films. In 1937, John Ford was hired to direct the sepia-toned Wee Willie Winkie (Temple's own favorite) and an A-list cast was signed that included Victor McLaglen, C. Aubrey Smith, and Cesar Romero.^[43][44] The film was a critical and commercial hit,^[43] but British film critic Graham Greene muddied the waters in October 1937 when he wrote in a British magazine that Temple was a "complete totsy" and accused her of being too nubile for a nine-year-old:

Her admirers—middle-aged men and clergymen—respond to her dubious coquetry, to the sight of her well-shaped and desirable little body, packed with enormous vitality, only because the safety curtain of story and dialogue drops between their intelligence and their desire.^[45]

Temple and Twentieth Century-Fox sued for libel and won. The settlement remained in trust for Temple in an English bank until she turned twenty-one, when it was donated to charity and used to build a youth center in England.^[46][47]

The only other Temple film released in 1937 was Heidi, which, according to Edwards, was a story suited to Temple's "slightly more mature personality".^[46] Edwards points out that Temple's hair had darkened and her ringlets brushed back into curls. Temple's theatrical instincts had sharpened, Edwards observes, and she suggested the Dutch song and dance dream sequence.^[48] After minor disagreements about the dance steps with the other children in the scene, director Allan Dwan had badges made reading 'Shirley Temple Police'. Every child was issued one after swearing allegiance and obedience to Temple. Shirley wore one reading 'Chief'.^[49]

1938–1940[link]

Temple in The Little Princess

In 1938, Rebecca of Sunnybrook Farm, Little Miss Broadway, and Just Around the Corner were released. The latter two were panned by the critics, and Corner was the first Temple film to show a slump in ticket sales.^[50] The following year, Zanuck secured the rights to the children's novel, A Little Princess, believing the book would be an ideal vehicle for Temple. He budgeted the film at $1.5 million (twice the amount of Corner) and chose it to be her first Technicolor feature. The Little Princess was a 1939 critical and commercial success with Temple's acting at its peak. Convinced Temple would successfully move from child star to teenage actress, Zanuck declined a substantial offer from MGM to star Temple as Dorothy in The Wizard of Oz and cast her instead in Susannah of the Mounties, her last money-maker for Twentieth Century-Fox.^[51][52] The film was lackluster and dropped Temple from number one box-office favorite in 1938 to number five in 1939.^[53]

In 1940, Temple starred in two consecutive flops at Twentieth Century-Fox, The Blue Bird and Young People^[54][55] Temple's parents bought up the remainder of her contract and sent her at the age of 12 to Westlake School for Girls, an exclusive country day school in Los Angeles.^[56] At the studio, Temple's bungalow was renovated, all traces of her tenure expunged, and the building reassigned as an office complex.^[55]

Last films and retirement[link]

Within a year of her departure from Twentieth Century-Fox,^{[note 6]} MGM signed Temple for her comeback, and made plans to team her with Judy Garland and Mickey Rooney first for the Andy Hardy series, and then when that idea was quickly abandoned, teaming Temple with Garland and Rooney for the musical Babes on Broadway. However, realizing that both Garland and Rooney could easily upstage Temple, MGM replaced Shirley in that film with Virginia Weidler. As a result, Temple's only film for Metro became Kathleen in 1941, a story about an unhappy teenager. The film was not a success and her MGM contract was canceled after mutual consent. Miss Annie Rooney followed for United Artists in 1942, but it too was unsuccessful.^{[note 7]} The actress retired for almost two years from films, throwing herself into school life and activities.^[57]

In 1944, David O. Selznick signed Temple to a personal four-year contract. She appeared in two wartime hits for him: Since You Went Away and I'll Be Seeing You. Selznick however became involved with Jennifer Jones and lost interest in developing Temple's career. She was loaned to other studios with Kiss and Tell, The Bachelor and the Bobby-Soxer,^{[note 8]} and Fort Apache being her few good films at the time.^[58]

According to biographer Robert Windeler, her 1947–49 films neither made nor lost money, but "had a cheapie B look about them and indifferent performances from her".^[59] Selznick suggested she move abroad, gain maturity as an actress, and even change her name. She had been typecast, he warned her, and her career was in perilous straits.^[59][60] After auditioning for and losing the role of Peter Pan on the Broadway stage in August 1950,^[61] Temple took stock, admitted her recent movies had been poor fare, and announced her official retirement from films on December 16, 1950.^[59][62]

Temple-related merchandise and endorsements[link]

Temple leaving the White House offices with her mother and her bodyguard Grif, 1938

Many Temple-inspired products were manufactured and released during the 1930s. Ideal Toy and Novelty Company in New York City negotiated a license for dolls with the company's first doll wearing the polka-dot dress from Stand Up and Cheer!. Shirley Temple dolls realized $45 million in sales before 1941.^[63] A mug, a pitcher, and a cereal bowl in cobalt blue with a decal of Temple were given away as a premium with Wheaties.

Successfully-selling Temple items included a line of girls' dresses and accessories, soap, dishes, cutout books, sheet music, mirrors, paper tablets, and numerous other items. Before 1935 ended, Temple's income from licensed merchandise royalties would exceed $100,000, doubling her income from her movies. In 1936, her income would top $200,000 from royalties. She endorsed Postal Telegraph, Sperry Drifted Snow Flour, the Grunow Teledial radio, Quaker Puffed Wheat,^[63] General Electric, and Packard automobiles.^{[31][note 9]}

Marriages and children[link]

In 1943, 15-year-old Temple met John George Agar (1921–2002), an Army Air Corps sergeant, physical training instructor, and a member of a Chicago meat-packing family.^[64][65] On September 19, 1945, when Temple was 17 years old, they were married before 500 guests in an Episcopal ceremony at Wilshire Methodist Church.^[23][66][67] On January 30, 1948, Temple gave birth to their daughter, Linda Susan.^[23][68][69] Agar became a professional actor and the couple made two films together: Fort Apache (1948, RKO) and Adventure in Baltimore (1949, RKO).^[69] The marriage became troubled,^[69][70] and Temple divorced Agar on December 5, 1949.^[31][69] She received custody of their daughter and the restoration of her maiden name.^[69][71][72] The divorce was finalized on December 5, 1950.

In January 1950, Temple had met Charles Alden Black, a WWII United States Navy Silver Star hero and Assistant to the President of the Hawaiian Pineapple Company.^[73][74] Conservative and patrician, he was the son of James B. Black, the president and later chairman of Pacific Gas and Electric, and reputedly one of the richest young men in California.^[74] Temple and Black were married in his parents' Del Monte, California home on December 16, 1950, before a small assembly of family and friends.^[23][74][75]

The family relocated to Washington, D.C. when Black was recalled to the Navy at the outbreak of the Korean War.^[76] Temple gave birth to their son, Charles Alden Black, Jr., in Washington, D.C. on April 28, 1952.^[23][77][78] Following the war's end and Black's discharge from the Navy, the family returned to California in May 1953. Black managed television station KABC-TV in Los Angeles, and Temple became a homemaker. Their daughter Lori was born on April 9, 1954.^[23] In September 1954, Black became director of business operations for the Stanford Research Institute and the family moved to Atherton, California.^[79] The couple remained married for 54 years until his death on August 4, 2005, at home in Woodside, California of complications from a bone marrow disease.^[80]

Television[link]

Between January and December 1958 Temple hosted and narrated a successful NBC television anthology series of fairy tale adaptations called Shirley Temple's Storybook. Temple acted in three of the sixteen hour-long episodes, and her children made their acting debuts in the Christmas episode, "Mother Goose".^[81][82] The series was popular but faced some problems. The show lacked the special effects necessary for fairy tale dramatizations, sets were amateurish, and episodes were telecast in no regular time-slot, making it difficult to generate a following.^[83] The show was reworked and released in color in September 1960 in a regular time-slot as The Shirley Temple Show (also known as Shirley Temple Theater).^[84][85] It faced stiff competition from a popular western and a Disney program however, and was canceled at season's end in September 1961.^[86]

Temple continued to work on television, making guest appearances on The Red Skelton Show, Sing Along with Mitch, and other shows.^[84] In January 1965, she portrayed a social worker in a sitcom pilot called Go Fight City Hall that was never released.^[87] In 1999, she hosted the AFI's 100 Years... 100 Stars awards show on CBS, and, in 2001, served as a consultant on an ABC-TV production of her autobiography, Child Star: The Shirley Temple Story.^{[citation needed]}

Motivated by the popularity of Storybook and television broadcasts of Temple's films, the Ideal Toy Company released a new version of the Shirley Temple doll and Random House published three fairy tale anthologies under Temple's name. Three hundred thousand dolls were sold within six months and 225,000 books between October and December 1958. Other merchandise included handbags and hats, coloring books, a toy theater, and a recreation of the Baby, Take a Bow polka-dot dress.^[88]

Life after Hollywood[link]

Shirley Temple Black, United States Ambassador to Czechoslovakia (1990)

Political ambitions[link]

Following her venture into television, Temple became active in the Republican Party in California, where, in 1967, she ran unsuccessfully for the United States House of Representatives in a special election to fill a vacant seat.^[89][90] She ran as a conservative and lost to liberal Republican Pete McCloskey, a staunch opponent of the Vietnam War.^[91]

She was appointed Representative to the 24th United Nations General Assembly by President Richard M. Nixon (September – December 1969),^[92][93] and was appointed United States Ambassador to Ghana (December 6, 1974 – July 13, 1976) by President Gerald R. Ford.^[94] She was appointed first female Chief of Protocol of the United States (July 1, 1976 – January 21, 1977), and was in charge of arrangements for President Jimmy Carter's inauguration and inaugural ball.^[94][95] She served as the United States Ambassador to Czechoslovakia (August 23, 1989 – July 12, 1992), having been appointed by President George H. W. Bush.^[31]

Breast cancer[link]

In the autumn of 1972, Temple was diagnosed with breast cancer. The tumor was malignant and removed, and a modified radical mastectomy performed. Following the operation, she announced it to the world via radio, television, and a February 1973 article for the magazine McCall's. In doing so, she became one of the first prominent women to speak openly about breast cancer.

Corporation commitments[link]

Temple has served on numerous boards of directors of large enterprises and organizations including The Walt Disney Company, Del Monte, Bank of America, the Bank of California, BANCAL Tri-State, Fireman's Fund Insurance, the United States Commission for UNESCO, the United Nations Association, and the National Wildlife Federation.^[96]

Awards and honors[link]

Temple is the recipient of many awards and honors including a special Juvenile Academy Award,^[23] the Life Achievement Award from the American Center of Films for Children,^[94] the National Board of Review Career Achievement Award,^[97] Kennedy Center Honors,^[98][99] and the Screen Actors Guild Life Achievement Award.^[100] On September 11, 2002, a life-size bronze statue of the child Temple by sculptor Nijel Binns was erected on the Fox Studio lot.^[101]

On March 14, 1935, Temple left her footprints and handprints in the wet cement at the forecourt of Grauman's Chinese Theatre in Hollywood.

Filmography[link]

References[link]

Notes[link]

Footnotes[link]

Works cited[link]

Bibliography[link]

External links[link]

	Biography portal
	United States portal
	Film portal

Wikimedia Commons has media related to: Shirley Temple

Wikiquote has a collection of quotations related to: Shirley Temple

Wikinews has related news: Many SAG Awards presenters announced

• Shirley Temple at the Internet Movie Database
• Shirley Temple at the TCM Movie Database
• Shirley Temple Movies List
• Photographs of Shirley Temple

For the defunct avant-garde metal band from Kristiansand, Norway, see In the Woods...

In the Woods
Cover of In The Woods
Author(s)	Tana French
Country	Ireland
Language	English
Series	Dublin Murder Squad
Genre(s)	Mystery
Publisher	Viking Adult
Publication date	30 January 2007
Media type	Print (Hardcover)
Pages	496
ISBN	978-0-670-03860-2
OCLC Number	191864570
Dewey Decimal	823/.92 22
LC Classification	PR6106.R457 I52 2007
Followed by	The Likeness: A Novel

In the Woods is a 2007 mystery novel by Tana French about a pair of Irish detectives and their investigation of the murder of a twelve year old girl. The novel won several awards such as the 2008 Edgar Award for Best First Novel By An American Author,^[1] the 2008 Barry Award for Best First Novel,^[2] the 2008 Macavity Award for Best First Mystery Novel,^[3] and the 2008 Anthony Award for Best First Novel.^[4]

Plot[link]

Twenty years prior to the novel's events, twelve year-old Adam and his two best friends failed to come home after playing in the familiar woods bordering their Irish housing estate. A search is called by the families, and the police find Adam shivering, clawing the bark of a nearby tree, blood on his shoes and slash marks on his back. He is unable to tell them what happened or where his friends are. His amnesia holds to the present day, where he goes by his middle name, Rob, to avoid the attention of the media to his famous case. His friends were never found.

The plot of the novel circles around the murder of a twelve year old girl, Katy Devlin, whose case Rob and his partner Cassie Maddox are given to investigate. The body is found in the same woods where Rob’s friends disappeared, at an archeological dig site, and the coincidence is enough to make Rob nervous, though he insists to his partner that he is fine.

Cassie and Rob have been partners for a few years and get along famously, teasing one another and completing one another’s thoughts. There are many rumors at the station that they are romantically involved, though both of them scoff at the idea, despite the fact that they live almost like a married couple, spending a lot of time at Cassie’s cooking dinner for one another, drinking wine, and having Rob crash on Cassie’s couch across the room.

Katy’s murder takes the pair along many lines of investigation. Her death might be related to her father’s protests against the new highway meant to go straight through the dig site, or one of the students on the dig might have attacked her. She might have been abused by her father or someone else (her mother, twin sister, or older sister) in the family. She might have been previously poisoned over time. Or it might be related to the disappearance of Rob’s friends, as a hair clip that one of his friends was wearing that day appeared near the crime scene.

These possibilities are investigated, but the detectives come up frustratingly empty-handed at every turn. The case messes with Rob’s psyche as he tries to remember details about the two previous disappearances in case it would help. He tries spending the night in the woods, but freaks out and calls Cassie to pick him up. He’s afraid to sleep again, thinking that he’ll just have nightmares, so Cassie allows him into her bed. Things escalate from there and they end up having sex.

Rob feels immensely awkward after and can’t go back to their normal jokey-insult ways, but also feels that he can’t start a relationship with her. Their partnership deteriorates just as they start to uncover new leads in the case and they are unable to discuss the case and get along the way they used to.

Rob goes back to the dig site alone, where all the students are frantically digging before the site is shut down for the construction of the highway. He comes to a realization and calls in the forensics team again, who discover the location of the murder in a shed to which only three people have the key. After some heavy interrogation, one of the suspects confesses, though his motive is far from clear.

It becomes clearer when the suspect contends that he had been dating Katy’s older sister, Rosalind. When questioned by Cassie, she denies it and any involvement in Katy’s death, but also makes a comment that Cassie is obviously sleeping with Rob. Cassie takes it in stride, but after the interrogation, she has an idea of how to get a confession out of Rosalind: Go to her and admit sleeping with Rob and promise to keep her updated on the case if she promises not to tell.

Rosalind’s psychopathic tendencies get the better of her, and once she knows that she has Cassie in her debt, she brags about the whole thing and how she got the murderer to come up with the idea by telling him that all three girls were being sexually abused by their father, but that Katy liked it and was therefore their father’s favorite. Rosalind also told him that Katy told their father lies to make him beat them and would watch and laugh, that if Katy was gone, then they would be happy. She also admitted to Cassie that Katy was strong-willed and wouldn’t always do as Rosalind told her, so she had poisoned her to make her sick. After this confession, recorded on a wire, Cassie arrests her and takes her in, but because Rosalind was a few months from turning 18 (though she had told Rob previously that she was already 18), the confession is invalid. She is released with a smug smile.

The Police Captain has learned that Rob is actually Adam Ryan and confines him to desk work. He never goes back to Detective work. Cassie starts dating someone else and gets engaged. Rob is heartbroken and calls her, but it’s too late. He goes to the dig site to see the highway construction has begun, and thinks that he’ll never regain his lost memories of that night.

Reception[link]

Thomas Gaughan of Booklist gave In the Woods a starred review and hailed it as “…a superior novel about cops, murder, memory, relationships, and modern Ireland. The characters of Ryan and Maddox, as well as a handful of others, are vividly developed… Equally striking is the picture of contemporary Ireland, booming economically and fixated on the shabbiest aspects of American popular culture. An outstanding debut and a series to watch for procedural fans.” ^[5] Publishers Weekly praised author French, saying she “… expertly walks the line between police procedural and psychological thriller in her debut” and that “Ryan and Maddox are empathetic and flawed heroes, whose partnership and friendship elevate the narrative beyond a gory tale of murdered children and repressed childhood trauma.” ^[5] Kirkus Reviews said of the novel, “When not lengthily bogged down in angst, a readable, non-formulaic police procedural with a twist. It’s ultimately the confession of a damaged man.” ^[6]

Awards and nominations[link]

• Edgar Award for Best First Novel By An American Author, 2008^[1]
• Barry Award for Best First Novel, 2008^[2]
• Macavity Award for Best First Mystery Novel, 2008^[3]
• Anthony Award for Best First Novel, 2008^[4]

References[link]

Harry Gribbon (9 June 1885 – 28 July 1961) was an American film actor. He appeared in 144 films between 1915 and 1938.

He was born in New York, New York, and died in Los Angeles, California. He was the brother of actor Eddie Gribbon. He worked for the obscure L-KO Kompany after starting out with Mack Sennett. Many of his films from this era have been lost.

Selected filmography[link]

• Fatty and Mabel at the San Diego Exposition (1915)
• Mabel, Fatty and the Law (1915)
• Fatty and the Broadway Stars (1915)
• Their Social Splash (1915)
• A Social Cub (1916)
• A Dash of Courage (1916)
• The King of the Kitchen (1918)
• Business Before Honesty (1918)
• Rose-Marie (1928)
• The Cameraman (1928)
• Show People (1928)
• The Mysterious Island (1929)
• On with the Show (1929)
• The Bees' Buzz (1929)
• Tide of Empire (1929)
• Dumb Dicks (1931)
• Ride Him, Cowboy (1932)

External links[link]

• Harry Gribbon at the Internet Movie Database

This article about a United States film actor or actress born in the 1880s is a stub. You can help Wikipedia by expanding it. v t e