my favourite actresses
One of the most popular actresses of the silent film era, in 1928 Gaynor became the first winner of the Academy Award for Best Actress for her performances in three films: Seventh Heaven (1927), Sunrise: A Song of Two Humans (1927) and Street Angel (1928). This was the only occasion on which an actress has won for multiple roles. This rule would be changed three years later by AMPAS. Her career continued with the advent of sound film, and she achieved a notable success in the original version of A Star Is Born (1937).
She worked only sporadically after the late 1930s. Severely injured in a 1982 vehicle collision, the incident contributed to her death two years later. ” - argamenor2012
Due to World War I, Violet's father moved his family to Boston, Massachusetts. By the time Violet was ten, the family had relocated to California where Violet's older sister, an actress who went by the name of Jean Fenwick, eventually landed a job as a contract player with FBO Studios.
Violet attended La Conte Junior High School and Hollywood High School. In 1928, Violet was approached by silent screen actress Nance O'Neil, who offered her speech and movement lessons. With sister Jean's help, Violet soon entered the movies. Violet, now known as Marilyn Morgan, secured a contract with Pathé where she was featured in many short subjects under the name Marilyn Morgan. She was seen in a small roles in Howard Hughes' classic Hell's Angels (1930) and Eddie Cantor's lavish Technicolor musical Whoopee! (1930). Not long afterwards, she was signed by Warner Bros. and her name was changed to Marian Marsh.
In 1931, Marsh landed one of her most important roles in Svengali opposite John Barrymore. Marsh was chosen by Barrymore, himself, for the role of "Trilby". Barrymore coached her performance throughout the picture's filming. Svengali was based on the 1894 gothic horror novel Trilby written by George du Maurier. A popular play, likewise entitled Trilby, followed in 1895. In the film version, which Warner Bros. had retitled Svengali, Marsh plays the artists' model Trilby, who is transformed into a great opera star by the sinister hypnotist, Svengali. The word "Svengali'" has entered the English language, defining a person who, with sometimes evil intent, tries to persuade another to do what he desires.
Marsh was selected as one of the WAMPAS Baby Stars of 1931. And, with the critical praise and the audience's approval of Svengali, she continued in a string of successful films for Warner Bros. including Five Star Final (1931) with Edward G. Robinson, The Mad Genius (1931) with Barrymore, The Road to Singapore (1931) with William Powell, the charming Beauty and the Boss (1932) with Warren William, and Under 18 (again with William).
In 1932, in the midst of a grueling work schedule, Marsh left Warner Bros. and took several film offers in Europe which lasted until 1934. She enjoyed working in England and Germany, as well as vacationing several times in Paris. Back in the United States, she appeared as the heroine, Elnora, in a popular adaptation of the perennial favorite A Girl of the Limberlost (1934) which also starred Louise Dresser. Marsh had fondly admitted that this was her favorite film role. In 1935, Marsh signed a two-year pact with Columbia Pictures. During this time, she starred in such films as Josef von Sternberg's classic Crime and Punishment (1935) with Peter Lorre, The Black Room (1935) regarded as one of Boris Karloff's best horror films of the decade, and The Man Who Lived Twice (1936) with Ralph Bellamy.
In the late 1950s, she appeared with John Forsythe in an episode of his TV series Bachelor Father and in an episode of the TV series Schlitz Playhouse of Stars before retiring in 1959. ” - argamenor2012
Her best remembered in Come and get it 1936, Son of fury 1942, opposite Tyrone Power, George Sanders, John Carradine , Ebb tide 1937 opposite Oskar Homolka and Ray Milland. ” - argamenor2012
Holliday began her career as part of a night-club act, before working in Broadway plays and musicals. Her success in the 1946 stage production of Born Yesterday as "Billie Dawn" led to her being cast in the 1950 film version, for which she won the Academy Award for Best Actress and the Golden Globe Award for Best Actress - Motion Picture Musical or Comedy. She appeared regularly in film during the 1950s. She was noted for her performance on Broadway in the musical Bells Are Ringing, winning a Tony Award for Best Performance by a Leading Actress in a Musical and reprising her role in the 1960 film. ” - argamenor2012
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 h ” - argamenor2012
She astonished Albert Einstein, aided Ernest Hemingway during the Spanish Civil War, and helped Berthold Brecht escape from Nazi Germany to America. Federico Fellini begged her on his knees to come back to the set of “La Dolce Vita,” and she was the first actress to win two consecutive Oscars.
But even so, the now largely unknown star says modestly: “I haven't accomplished anything in life.”
Born in Düsseldorf on January 12, 1910 ” - argamenor2012
Nacida en Södermalm, barrio humilde de Estocolmo con el nombre de Greta Lovisa Gustafsson, se convirtió en el principal mito del Séptimo Arte. Su precoz retiro con apenas 36 años contribuyó a engrandecer la leyenda de la Garbo.
El American Film Institute la considera la quinta estrella femenina más importante de la historia del cine.
Fue conocida con los apodos de «La divina» y «La mujer que no ríe» debido al rictus serio de su rostro, sólo interrumpido en una escena de su memorable filme Ninotchka donde suelta sorpresivamente una carcajada. Esta excepción hizo correr ríos de tinta en los periódicos con el titular «La Garbo ríe».
Su vida siempre estuvo rodeada de misterio y de múltiples preguntas que jamás respondió. Se retiró a edad muy temprana y vivió el resto de su vida casi recluida. Precisamente su enigmático comportamiento y su pertinaz soltería dieron pie a múltiples rumores en los medios acerca de su bisexualidad (entre esos rumores, el de ser amante de la actriz mexicana Dolores del Río y la escritora Mercedes de Acosta) con quien mantuvo 28 años de amistad y abundante correspondencia que quedó como un legado después de su muerte en 1968.1
También fue sospechosa su distante relación con Marlene Dietrich; ambas fingieron que no se conocían hasta que las presentó Orson Welles en 1945, pero se ha develado que habían trabajado juntas en una película muda, siendo muy jóvenes ambas, y que tuvieron una breve relación. Según estos rumores, Greta se sintió maltratada y burlada por Marlene, y al hacerse famosas optaron por evitarse y negar todo contacto. Dietrich consideraba a La Garbo como una mujer estrecha de mente, de carácter provinciano y siempre se refería a ella en términos despectivos.
Greta Garbo en 1932.
Tantos rumores que sus amigos nunca confirmaron o desmintieron, a la larga sólo acrecentaron la leyenda de Greta Garbo, convirtiéndola en uno de los más grandes mitos del séptimo arte.
Aún hoy su rostro es considerado quizás el más perfecto que haya pasado por la gran pantalla. El semiólogo Roland Barthes lo considera "un arquetipo del rostro humano" y afirma:
El rostro de la Garbo representa ese momento inestable en que el cine extrae de belleza existencial de una belleza esencial.2
Ramón Novarro, su contraparte en el film Mata Hari de 1931, opinó de su pareja fílmica:3
(Garbo) Es todo lo que uno podría soñar. Además de hermosa, es seductora, llena de misterio, con una lejanía que sólo los hombres comprenden, porque esa es una cualidad que usualmente sólo se encuentra en los hombres.” - “Pienso que todos deberían casarse, todos excepto los artistas. No se puede servir a dos amos: matrimonio y arte… Greta Garbo es, ante todo, la artista y yo, espero, también lo soy. Ella ha prometido que no se casará nunca y sé que yo tampoco lo haré
Ramón Novarro (1930) ” - argamenor2012
Dietrich remained popular throughout her long career by continually re-inventing herself. In 1920s Berlin, she acted on the stage and in silent films. Her performance as Lola-Lola in The Blue Angel, directed by Josef von Sternberg, brought her international fame and a contract with Paramount Pictures in the US. Hollywood films such as Shanghai Express and Desire capitalised on her glamour and exotic looks, cementing her stardom and making her one of the highest paid actresses of the era. Dietrich became a US citizen in 1937; during World War II, she was a high-profile frontline entertainer. Although she still made occasional films in the post-war years, Dietrich spent most of the 1950s to the 1970s touring the world as a successful show performer.
In 1999 the American Film Institute named Dietrich the ninth greatest female star of all time.
Witness for the prosecution 1957 opposite Tyrone Power and Charles Laughton. Golden earrings 1947 opposite Ray Milland. ” - argamenor2012
Born Virginia Clara Jones
November 30, 1920
St. Louis, Missouri, U.S.
Died January 17, 2005 (aged 84)
Los Angeles, California, U.S.
Years active 1939–1997
Spouse Michael O'Shea (1947–1973) (his death) 1 child
After a short career in vaudeville, Mayo progressed to films and during the 1940s established herself as a supporting player in such films as The Best Years of Our Lives (1946) and White Heat (1949).
She worked extensively during the 1950s, but after this her appearances were fewer. She worked occasionally until her final performance in 1997. ” - argamenor2012
Mr. Arkadin 1955, Abbot and Costello in the Foreing Legion 1950, Francis the talking mule 1950........ ” - argamenor2012
During her long career, she made a total of 73 films, and is noted for her role as Fred Astaire's romantic interest and dancing partner in a series of ten Hollywood musical films that revolutionized the genre. She also achieved great success in a variety of film roles and won the Academy Award for Best Actress for her performance in Kitty Foyle (1940). She ranks #14 on the AFI's 100 Years…100 Stars list of actress screen le ” - argamenor2012
Born as Margarita Carmen Cansino in Brooklyn, New York, Hayworth was the daughter of Spanish flamenco dancer Eduardo Cansino, Sr. and Ziegfeld girl Volga Hayworth who was of Irish and English descent. She was raised as a Roman Catholic. Her father wanted her to become a dancer while her mother hoped she would become an actress. Her grandfather, Antonio Cansino, was the most renowned exponent in his day of Spain's classical dances; he made the bolero famous. His dancing school in Madrid was world famous. He gave Hayworth her first instruction in dancing.
"I didn't like it very much ... but I didn't have the courage to tell my father, so I began taking the lessons. Rehearse, rehearse, rehearse, that was my girlhood." "From the time I was three and a half ... as soon as I could stand on my own feet, I was given dance lessons."
Gilda, Los amores de Carmen, La dama de Shangai, Sangre y arena, Cover girls............. ” - argamenor2012
Tarzan and his mate, etc. ” - argamenor2012
Other notable roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951) and Anne Scott in The Left Hand of God (1955). Certain of her film-related material and personal papers are contained in the Wesleyan University Cinema Archives, to which scholars and media experts from around the world may have full access.
Son of fury opposite Tyrone Power, George Sanders, John Carradine and Frances Farmer. ” - argamenor2012
Viva Zapata, opposite Anthony Quin, Marlon Brando, ” - argamenor2012
Françoise Dorléac died when she lost control of the rented Renault 10 she was driving and hit a sign post ten kilometers from Nice at the Villeneuve-Loubet exit of the highway La Provençale. The car flipped over, and burst into flames. She had been en route to Nice airport and was afraid of missing her flight. Dorléac was seen struggling to get out of the car, but was unable to open the door. Police later identified her body only from the fragment of a cheque book, a diary and her driving license. Dorléac had intended to fly to Paris, then on to London to complete work on the film Billion Dollar Brain. She was then to have stayed in Britain for the premiere of The Young Girls of Rochefort. ” - argamenor2012
The daughter of a Swiss author and an Austrian actress, she was the older sister of actor Maximilian Schell, and lesser-known actors Carl Schell and Immy (Immaculata) Schell.
The paradine process, the karamazof brothers.............. ” - argamenor2012
Throughout her six-decade career, Hepburn co-starred with screen legends including Cary Grant (Bringing Up Baby, Holiday, The Philadelphia Story), Humphrey Bogart (The African Queen), John Wayne (Rooster Cogburn), Laurence Olivier (Love Among the Ruins) and Henry Fonda (On Golden Pond). Her most successful pairing was with Spencer Tracy, with whom she made a string of hit pictures, starting with 1942's Woman of the Year. The last of their nine films together was Guess Who's Coming to Dinner (1967), which was completed shortly before Tracy's death.
Hepburn holds the record for the most Best Actress Oscar wins with four out of 12 nominations. She won an Emmy Award in 1976 for her lead role in Love Among the Ruins, and was nominated for four other Emmys, two Tony Awards and eight Golden Globes. In 1999, she was ranked by the American Film Institute as the greatest female star in the history of American cinema. ” - argamenor2012
Discovered by actress Norma Shearer, Leigh secured a contract with MGM and began her film career in the late 1940s. She appeared in several popular films over the following decade, including Alfred Hitchcock's Psycho (1960) and Living It Up (a Martin and Lewis-film from 1954).
From the end of the 1950s, she played more dramatic roles in such films as Safari (1958) Touch of Evil (1958) and The Manchurian Candidate (1962), but she achieved her most lasting recognition for her performance as the doomed Marion Crane in Alfred Hitchcock's Psycho (1960). For this role she was awarded the Golden Globe Award for Best Supporting Actress and was nominated for the Academy Award for Best Supporting Actress. She continued to appear occasionally in films and television, including two performances with her daughter Jamie Lee Curtis in The Fog (1980) and Halloween H20: 20 Years Later (1998).
Scaramouche 1952 opposite Stewart Granger, Mel Ferrer, Richard Anderson and Henry Wilcoxon, Harry Houdini 1953 opposite Tony Curtis. ” - argamenor2012
Unlike many of her MGM contemporaries, Shearer's fame declined steeply after retirement. By the time of her death in 1983, she was largely remembered at best for her "noble" roles in The Women, Marie Antoinette, and Romeo and Juliet. Shearer's legacy began to be re-evaluated in the 1990s with the publication of two biographies and the TCM and VHS release of her films, many of them unseen since the implementation of the Production Code some sixty years before. Focus shifted to her pre-Code "divorcee" persona and Shearer was rediscovered as "the exemplar of sophisticated [1930's] woman-hood... exploring love and sex with an honesty that would be considered frank by modern standards".
Simultaneously, Shearer's ten-year collaboration with portrait photographer George Hurrell and her lasting contribution to fashion through the designs of Adrian were also recognized.
Shearer is widely celebrated by some as one of cinema's feminist pioneers: "the first American film actress to make it chic and acceptable to be single and not a virgin on screen". In March 2008, two of her most famous pre-code films, The Divorcee and A Free Soul, were released on DVD.
Unforgetable Marie Antoinette opposite Robert Morley, John Barrymore, Tyrone Power, Gladys George, Henry Stephenson. ” - argamenor2012
Malone's film career began in the mid 1940s, and in her early years she played small roles, mainly in B-movies. After a decade in films, she began to acquire a more glamorous image, particularly after her performance in Written on the Wind (1956), for which she won the Academy Award for Best Supporting Actress. Her film career reached its peak by the beginning of the 1960s, and she achieved later success with her television role as Constance MacKenzie on Peyton Place from 1964 to 1968. Less active in her later years, Malone returned to films in 1992 as the friend of Sharon Stone's character in Basic Instinct.
Malone was born Dorothy Eloise Maloney in Chicago, Illinois. Her family moved to Dallas, Texas, where she worked as a child model and began acting in school plays at Ursuline Convent and Highland Park High School. While performing at Southern Methodist University, she was spotted by an RKO talent agent and was signed to a studio contract, making her film debut in 1943 in The Falcon and the Co-Eds.
Much of Malone's early career was spent in supporting roles in B-movies, many of them Westerns, although on occasion she played small but memorable roles, such as the brainy, lusty, bespectacled bookstore clerk in The Big Sleep (1946) with Humphrey Bogart, and the love interest of Dean Martin in the musical-comedy Artists and Models (1955).
By 1956, Malone transformed herself into a platinum blonde and shed her "good girl" image when she co-starred with Rock Hudson, Lauren Bacall, and Robert Stack in director Douglas Sirk's drama Written on the Wind. ” - argamenor2012
Intérprete sueca que intentó triunfar en Hollywood después de debutar apareciendo en diversas películas de su país natal.
Marta Toren nació en Estocolmo el 21 de mayo de 1926. Los estudios Universal fueron los primeros en hacerse eco de la intérprete nórdica haciéndole firmar un contrato para su intervención en "Casbah" (1948) de John Berry, un remake musical de "Argel" (1938) en el que Marta compartía protagonismo con una de las diosas kitsch de toda la historia del cine: Yvonne de Carlo.
Otra de sus participaciones con la Universal fue en "La legión de los condenados" (1948), una película de Robert Florey sobre la Legión Extranjera que contaba como compañeros de reparto a Dick Powell y a Vincent Price.
Su tercer participación en tierras estadounidenses fue con "Illegal entry" (1949) un film negro co-protagonizado por Howard Duff y dirigido por Fredrick de Córdoba.
"Sword in the desert" (1949), una historia ambientada en tiempos de la Segunda Guerra Mundial con el acompañamiento del eficaz Dana Andrews y dirección de George Sherman, "Deported" (1959) de Robert Siodmak, "Mistery Submarine" (1950) de Douglas Sirk, "Murallas de silencio" (1950) dirigida por Hugo Fregonese, "Spy Hunt" (1950), de nuevo con dirección de Vincent Sherman, fueron el preludio de su película más famosa, "Siroco" (1951), una cinta ambientada en Siria protagonizada por el gran Humphrey Bogart bajo la dirección de Curtis Bernhardt.
Tras el film de espionaje de Robert Parrish "Destino: Budapest" (1952), Marta Toren regresó a Europa, particpando en títulos como "Magdalena" (1953), "Casa Ricordi" (1954), "Carta a Sara" (1956) o "La puerta abierta" (1957), producciones no demasiado destacables.
Falleció a causa de una leucemia el 19 de febrero de 1957 en Suecia. Solamente tenía 30 años de edad. ” - argamenor2012
Sus padres pertenecían al mundo del espectáculo y junto a ellos recorrió gran parte del medio oeste americano. Asistió al instituto Monte Cassino y a la Universidad del noroeste hasta que en 1938 ingresó en la Academia de Artes Dramáticas de Nueva York. Ahí conoció a otro estudiante, el actor Robert Walker con el que contrajo matrimonio el 2 de enero de 1939.
La pareja se trasladó a Hollywood donde Jones actuó en dos pequeños papeles: en un western de John Wayne y en la serie televisiva Dick Tracy's G-Men. Sin embargo, ni ella ni su esposo superaron una prueba de pantalla para la Paramount por lo que regresaron a Nueva York.
Walker empezó a trabajar en programas de radio mientras que Jennifer iniciaba un trabajo como modelo mientras seguía buscando trabajos como actriz. Se presentó a una prueba organizada por el director David O. Selznick que la actriz no pudo terminar ya que estalló en lágrimas. Sin embargo, el director quedó impresionado y terminó firmando un contrato con la actriz.
El director King Vidor quedó impresionado por la actriz y le dio el papel de Bernadette Soubirous en la película La canción de Bernadette (The Song of Bernadette) que le valió el premio Óscar a la mejor actriz en 1943.
Durante las siguientes dos décadas, Jones protagonizó numerosas películas, cuidadosamente seleccionadas por Selznick. Entre ellas destacan Duelo al sol (Duel in the Sun) de 1946, Jennie (Portrait of Jennie) o La colina del adiós (Love Is A Many-Splendored Thing) de 1955.
Jennifer Jones se divorció de Robert Walker en 1944. En 1949 se casó con Selznick con el que permaneció hasta la muerte del productor en 1965. A partir de la muerte de su marido, la actriz se retiró paulatinamente de la gran pantalla. Su última aparición la realizó en la película El coloso en llamas (The towering inferno) en 1974. Posteriormente contrajo matrimonio con el magnate y coleccionista Norton Simon, creador de un famoso museo en Pasadena (California). Tras la muerte de Simon, la ex actriz continuó gestionando el museo, en cuyo patronato figuraba la también actriz Candice Bergen.
Jones falleció el 17 de diciembre de 2009 en su casa de Malibu a los 90 años.1 ” - argamenor2012
She was nominated six times for an Academy Award as Best Actress but never won competitively. In 1994, however, she was awarded the Academy Honorary Award, cited by the Academy as "an artist of impeccable grace and beauty, a dedicated actress whose motion picture career has always stood for perfection, discipline and elegance".
Her films include The King and I, An Affair to Remember, From Here to Eternity, Quo Vadis, The Innocents, Black Narcissus, Heaven Knows, Mr. Allison, The Life and Death of Colonel Blimp and Separate Tables, the prisoner of zenda, the mines of king solomon both with Stewart Granger.
Although the Scottish pronunciation of her surname, /ˈkɛr/, is closer to a phonetic reading of the name, when she was being promoted as a Hollywood actress it was made clear that her surname should be pronounced the same as "car". To avoid confusion over pronunciation, Louis B. Mayer of MGM billed her as "Kerr rhym ” - argamenor2012
Parker was born in Cedarville, Ohio. At an early age, her family moved to East Cleveland, Ohio and she attended public schools. She is a graduate of Shaw High School. After high school, she was signed by Warner Brothers in 1941, at the age of 18. She would have debuted that year in the film They Died with Their Boots On, but her scenes were cut. Her actual film debut was playing nurse Ryan in Soldiers in White in 1942.
Scaramouche 1952 opposite Stewart Granger, Mel Ferrer.
Brigada 21 opposite Kirk Douglas, el hombre del brazo de oro 1955 opposite Frank Sinatra, Kim Novak, caged 1950 ........ ” - argamenor2012
The three started singing in the family's speakeasy when Betty was 3 years old. Troubles with the police kept the family on the move. They eventually landed in Detroit, Michigan. (On one occasion, when Betty, preceded by a police escort, arrived at the premiere of Let's Dance (1950), her mother, arriving with her, quipped, "At least this time the police are in front of us!") Hutton sang in several local bands as a teenager, and at one point visited New York City hoping to perform on Broadway, where she was rejected.
A few years later, she was scouted by orchestra leader Vincent Lopez, who gave Hutton her entry into the entertainment business. In 1939 she appeared in several musical shorts for Warner Bros., and appeared in a supporting role on Broadway in Panama Hattie , ” - argamenor2012
8 August 23 is born in Hollywood / Los Angeles, California
? is raised in San Francisco, where her father is in the piano business
Early 40s works as a welder in the shipyard during the war
Early 45 works as a department store clerk and showgirl before signing with 20th Century-Fox
? begins working at the famed Follies Bergere in San Francisco
45 is a showgirl in Diamond Horseshoe
? is spotted by producer-director Ida Lupino who “gives her a first real break in pictures”
Early June 51 is heralded to start location filming for The Tanks Are Coming at Fort Knox, Kentucky
June 51 is replaced in Warner Brothers' The Tanks Are Coming because studio bosses decide that a girl so extraordinarily pretty should not be wasted in a war drama
Summer 51 is on location in southern Humboldt, California, for several weeks for the filming of The Big Trees
an old fashioned movie technique returns to modern day Hollywood—studio musicians to render mood music so two actors can effectively portray a dramatic scene of parting. On the set of The Big Trees, she and Kirk Douglas cannot seem to achieve Director Felix E. Feist’s desired level of emotion. So, the two put their heads together and come up with the idea of mood music. After listening to a few Debussy melodies, they complete the desired affect on the first take.
February 52 the press claims she’s an Oakland girl
16 February 52 The Big Trees premiers in Eureka, California, at both the Eureka and State Theaters. She, Patrice Wymore, and Edgar Buchanan participate. City festivities begin; residents are invited to dress in period costumes. There is a logging truck parade.
as part of the festivities, she and Patrice Wymore are “kidnapped” by a group of burly Paul Bunyans from Roseburg, Oregon. The actresses are seized by the invading woodsmen at the Eureka Inn and spirited away in a car despite the "resistance" put up by Eureka police.
columnist Harrison Carroll reports that she and Pat Wymore were kicked out of their own The Big Trees premiere at a Eureka, California, movie theater. As Pat tells it, she and Eve decided they would like to see the picture. There wasn't a seat left in the house, so they sneaked up into the balcony in their evening clothes and perched on the steps. Presently, a fireman told them they’d have to leave. Pat admits she flew into a temper. ‘I told him I had been kicked out of better places than that, and then I stamped out of the theater.”
30 July 52 is the subject of Lydia Lane’s newspaper column: “Though Eve Miller was born in Hollywood, she told me she had to go to New York to realize her ambition to be in pictures. ‘As far back as I can remember," Eve confided, ‘I dreamed some day of having a Hollywood contract.’"
When asked how much she feels her appearance has contributed to her success, she replies: “Appearance usually means the way you look, but I would rather say that the impression you make is the thing that counts. This consists of not only your appearance but of the way you talk, what you say and also how you smell.” Laughing, she continues, “I really think the English language needs another word — something that we could use when the nose was pleased so that the word smell could mean only when we didn't like it. But anyway, the point I'm driving at is that perfume has played an important part in my life. A scent I was wearing started a chain of events which had a decisive impact on my career, every time I look at this particular bottle of perfume, inwardly I throw it a kiss.”
When asked about fragrance, she replies: “I have favorites, but I like to change around for the weather, time of day or the occasion. I don't think the type of perfume you'd wear to a big party would be appropriate for a game of tennis. And then, too, certain fragrances are more attractive in hot weather than others.
“I think it's a mistake to put perfume around your hair, ears or only on the upper parts of your body because perfume rises and so much of it is lost. I like to spray the hem of my petticoats, my stockings and my underthings. If you give a little thought to building a symphony of scents you'll be surprised how effective this is. Not everyone may tell you how nice you smell, but they will enjoy being next to you."
September 52 tours the Hollywood late spots with Kirk Douglas and his old pal Captain Paul Caruso
July 54 meets young actor Glase Lohman
c. December 54 becomes engaged to Universal-International bit player Glase Lohman. He's about 29; she's 21.
21 July 55 early in the day, she attempts suicide at her North Hollywood apartment after an argument with Lohman. When Lohman informs her that he won’t marry her until he’s financially stable, she stabs herself in the abdomen with a paring knife. Lohman tells the police that she brought up the subject of marriage and an argument ensued. Lohman says he tried to persuade her to keep calm, but when he started to leave her apartment she ran into the kitchen and exclaimed: “You will be sorry, because you will find me dead in the morning.”
the police find her on the kitchen floor, surrounded by letters she had written to Lohman. She is rushed to North Hollywood Receiving Hospital for emergency treatment and then taken to General Hospital, where she undergoes four hours of surgery for her knife wound.
17 August 73 as Eve Miller, she dies at age 50 in Van Nuys, California, by suicide ” - argamenor2012
31 March 1934, Charleroi, Pennsylvania, USA
Shirley Mae Jones
5' 5½" (1.66 m)
Named after child star Shirley Temple, Shirley Jones started singing at the age of six. She started formal training at the age of 12 and would dream of singing with her idol, Gordon MacRae. Upon graduating from high school, Shirley went to New York to audition for the casting director of Rodgers & Hammerstein. Taken by Shirley's beautifully trained voice, Shirley was signed as a nurse in the Broadway production of "South Pacific". Within a year, she would be in Hollywood to appear in her first film Oklahoma! (1955) as Laurey, the farm girl in love with cowboy Gordon MacRae. Oklahoma! (1955) would be filmed in CinemaScope and Todd-AO wide-screen and would take a year to shoot. After that, Shirley returned to Broadway for the stage production of "Oklahoma!" before returning to Hollywood for Carrusel (1956). But by this time, musicals were a dying art and she would have a few lean years. She would work on television in programs like "Playhouse 90" (1956). With a screen image comparable to peaches-n-cream, Shirley wanted a darker role to change her image. In 1960, she would be cast as the vengeful prostitute in the Richard Brooks dramatic film El fuego y la palabra (1960). With a brilliant performance against an equally brilliant Burt Lancaster, Shirley would win the Oscar for Supporting Actress. But the public wanted the good Shirley so she was cast as "Marion", the librarian, in the successful musical Vivir de ilusión (1962). Robert Preston had played the role on Broadway and his performance along with Shirley was magic. Shirley would again work with little Ron Howard in El noviazgo del padre de Eddie (1963). But the movies changed in the 60's and Shirley's image did not fit so she would see her movie career stop in 1965. There were always nightclubs, but Shirley would be remembered by another generation as "Shirley Partridge" in the television series "Mamá y sus increíbles hijos" (1970). While the success of the show would do more for her stepson, teen idol David Cassidy, it would keep her name and face in the public view for the four years that the series ran. The show still plays in reruns. After the show ended, Shirley would spend the rest of the 70's in the land of television movies. The television movie The Lives of Jenny Dolan (1975) (TV) would be made as a pilot for a series that was not picked up. In 1979, Shirley appeared in a comedy show called "Shirley" (1979), but the show lasted only one season. Shirley would appear infrequently in the 80's and in video's extolling fitness and beauty at the end of the decade. ” - argamenor2012
Lily Claudette Chauchoin nació en Saint-Mandé,1 hija de un banquero francés que fue trasladado a Estados Unidos en 1906, cuando la niña contaba con tres años. Apasionada de las obras de Broadway, una adolescente Claudette comenzó a estudiar Arte Dramático mientras trabajaba en una tienda de ropa para pagarse sus clases.
En 1923, The Wild Wescotts fue la ópera prima en el teatro de Claudette, que a partir de entonces adoptó el nombre con el que se hizo famosa cuatro años después, interpretando The Barker. También en 1927, la joven empezó a colaborar en el cine, pero su primera película, For the love of Mike fue un fracaso de taquilla y la hizo volver al teatro.
Cuando volvió al celuloide, en 1929, su película The Lady Lies fue, por el contrario, un enorme éxito. El año anterior, 1928, había contraído matrimonio con el director Norman Foster.
Después de cinco años de éxitos casi seguidos, Claudette Colbert ya era una actriz reconocida y respetada en el mundo del cine, pero lo mejor estaba aún por llegar. Cleopatra, una de las obras más recordadas de Cecil B. DeMille, en 1934, consagró a la actriz; pocos meses después, It Happened One Night (Sucedió una noche), comedia que protagonizó con Clark Gable, haría que Claudette se metiera de lleno en la historia del cine y que, además, ganara un Óscar a la mejor actriz.
Un año después, en 1935, se divorció de Norman Foster, con el que jamás había convivido desde el día de su matrimonio, para casarse con Joel Pressman. Ya en la década de 1940, probó suerte en la televisión y como directora (Texas Lady, 1955). Continuó trabajando en cine y televisión hasta 1987, dedicándose por completo al teatro desde entonces y hasta 1992.
Falleció en Speightstown, Barbados, a los 92 años de edad después de sufrir varias apoplejías consecutivas.
The Two Mrs. Grenvilles (1987) (TV)
The Bells of St. Mary's (1959) (TV)
Blithe Spirit (1956) (TV)
Texas Lady (1955)
Si Versailles m'était conté (1954)
The Planter's Wife (1952)
Let's Make It Legal (1951)
Thunder on the Hill (1951)
The Secret Fury (1950)
Three Came Home (1950)
Bride for Sale (1949)
Family Honeymoon (1949)
Sleep, My Love (1948)
The Egg and I (1947)
The Secret Heart (1946)
Without Reservations (1946)
Tomorrow Is Forever (1946)
Guest Wife (1945)
Practically Yours (1944)
Since You Went Away (1944)
So Proudly We Hail! (1943)
No Time for Love (1943)
The Palm Beach Story (1942)
Remember the Day (1941)
Arise, My Love (1940)
Boom Town (1940)
Drums Along the Mohawk (1939)
It's a Wonderful World (1939)
Bluebeard's Eighth Wife (1938)
I Met Him in Paris (1937)
Maid of Salem (1937)
Under Two Flags (1936)
The Bride Comes Home (1935)
She Married Her Boss (1935)
Private Worlds (1935)
The Gilded Lily (1935)
Imitation of Life (1934)
It Happened One Night (Sucedió una noche) (1934)
Four Frightened People (1934)
Torch Singer (1933)
Three-Cornered Moon (1933)
I Cover the Waterfront (A la sombra de los muelles) (1933)
Tonight Is Ours (1933)
The Sign of the Cross (1932)
The Phantom President (1932)
Make Me a Star (1932) (cameo)
The Man from Yesterday (1932)
Misleading Lady (1932)
The Wiser Sex (1932)
His Woman (1931)
Secrets of a Secretary (1931)
The Smiling Lieutenant (1931)
Honor Among Lovers (1931)
Énigmatique Monsieur Parkes, L' (1930)
The Big Pond (Grande mare, La) (1930)
Young Man of Manhattan (1930)
The Lady Lies (1929)
The Hole in the Wall (1929)
For the Love of Mike (1927) ” - argamenor2012
was an American actress and operatic soprano singer.
From the age of twelve, Grayson trained as an opera singer. She was under contract to MGM by the early 1940s, soon establishing a career principally through her work in musicals. After several supporting roles, she was a lead performer in such films as Thousands Cheer (1943), Anchors Aweigh (1945) with Frank Sinatra and Gene Kelly, and Show Boat (1951) and Kiss Me Kate (1953) (both with Howard Keel).
When film musical production declined, she worked in theatre, appearing in Camelot (1962–1964). Later in the decade she performed in several operas, including La bohème, Madama Butterfly, Orpheus in the Underworld and La traviata. ” - argamenor2012
She was taken by her parents to Ottawa, Ontario, Canada as a girl and spent her childhood in Canada. She was left an orphan and escaped from her guardians at the age of twelve. She came to New York City and arrived at Grand Central Station with but twenty-five cents of Canadian money in her pocket. Miss Besserer located a former governess through the assistance of a street car conductor. The governess helped Eugenie locate an uncle and she found a home at his residence. She continued her education, becoming proficient in both cooking and athletics. She claimed to have held her own with the noted fencer Alexander Salvini.
Besserer's initial theatrical experience came with McKee Rankin when the producer had for a star, Nance O'Neill. Soon she appeared with stage luminaries like Frank Keenan and Wilton Lackaye. As a youth she played a juvenile part with Maurice Barrymore. She performed a season at Pike's Opera House in Portland Oregon. Another season Eugenie acted in a drama opposite Henry Kolker.
The actress came to Hollywood in 1910 when films were just starting to be made there. The illness of her sister brought her to the west coast. In motion pictures Eugenie was usually cast in mother roles. Eugenie became associated with the Selig Polyscope Company. A significant part for the actress was her role as Aunt Ray Innis in The Circular Staircase (1915). The film was adapted from the novel of Mary Roberts Rinehart.
Besserer died in 1934, age 65, of a heart attack, at her home, 2215 Baxter Street. She had married Hegger at the age of fifteen. The couple would have celebrated their golden wedding anniversary in 1935. A mass for the actress was held at St. Theresa's Church with a rosary service at Edwards Brothers Colonial Mortuary, Venice Boulevard, in Los Angeles, California. Her grave is located in Calvary Cemetery, East Los Angeles.
To the Last Man (1933) .... Granny Spelvin
Six Hours to Live (1932) (uncredited) .... Undetermined Role
Scarface (1932) (uncredited) .... Citizens Committee member
Du Barry, Woman of Passion (1930) (uncredited) .... Rosalie/Prison Matron
In Gay Madrid (1930) (as Eugenia Besserer) .... Doña Generosa
A Royal Romance (1930) .... Mother
Seven Faces (1929) .... Madame Vallon
Mister Antonio (1929) .... Mrs. Jorny
Illusion (1929) .... Mrs. Jacob Schmittlap
Fast Company (1929) .... Mrs. Kane
Speedway (1929) .... Mrs. MacDonald
Whispering Winds (1929) .... Jim's Mother
Madame X (1929) .... Rose, Floriot's Servant
Thunderbolt (1929) .... Mrs. Morgan
The Bridge of San Luis Rey (1929) .... A nun
A Lady of Chance (1928) .... Mrs. 'Ma' Crandall
Lilac Time (1928) .... Madame Berthelot
Yellow Lily (1928) .... Archduchess
Two Lovers (1928) .... Madame Van Rycke
Drums of Love (1928) .... Duchess de Alvia
The Jazz Singer (1927) .... Sara Rabinowitz
Slightly Used (1927) .... Aunt Lydia
Captain Salvation (1927) .... Mrs. Buxom
When A Man Loves (1927) .... The Landlady
The Night of Love (1927) (uncredited) .... Gypsy
Wandering Girls (1927) .... Peggy's Mother
Flesh and the Devil (1926) .... Leo's Mother
The Fire Brigade (1926) .... Mrs.O'Neil
The Millionaire Policeman (1926) .... Mrs. Gray
Winning the Futurity (1926) .... Mary Allen
Kiki (1926) (uncredited) .... Landlady
The Skyrocket (1926) .... Wardrobe Mistress
Bright Lights (1925) .... Patsy's mom
Wandering Footsteps (1925) .... Elizabeth Stuyvesant Whitney
The Circle (1925) .... Lady Catherine "Kitty" Cheney
The Coast of Folly (1925) .... Nanny
Confessions of a Queen (1925) .... Elanora
Friendly Enemies (1925)
A Fool and His Money (1925) .... Mother
The Price She Paid (1924) .... Mrs. Elton Gower
Bread (1924) .... Mrs. Sturgis
Enemies of Children (1923)
Anna Christie (1923) .... Marthy
The Rendezvous (1923) .... Nini
Her Reputation (1923) .... Madame Cervanez
The Lonely Road (1923) .... Martha True
The Strangers' Banquet (1922) .... Mrs. McPherson
June Madness (1922) .... Mrs. Whitmore
The Hands of Nara (1922) .... Mrs. Claveloux
Kindred of the Dust (1922) .... Mrs. McKaye
The Rosary (1922) .... Widow Kathleen Wilson
The Light in the Clearing (1921)
Molly O' (1921) .... Antonia Bacigalupi
The Sin of Martha Queed (1921) .... Alicia Queed
Good Women (1921) .... Mrs. Emmeline Shelby
The Breaking Point (1921) .... Mrs. Janeway
What Happened to Rosa (1920) .... Madame O'Donnelly
The Scoffer (1920) .... Boorman's Wife
45 Minutes from Broadway (1920) .... Mrs. David Dean
Seeds of Vengeance (1920) .... Judith Cree
Fickle Women (1920) .... Mrs. Price
The Brand of Lopez (1920) .... Señora Castillo
For the Soul of Rafael (1920) .... Dona Luisa
The Gift Supreme (1920) .... Martha Vinton
The Fighting Shepherdess (1920) .... Jezebel
The Greatest Question (1919) .... Mrs. Hilton
Scarlet Days (1919) .... Rosie Nell
Turning the Tables (1919) .... Mrs. Feverill
Ravished Armenia (1919)
The Sea Flower (1918) .... Kealani
The Road Through the Dark (1918) .... Aunt Julie
The Eyes of Julia Deep (1918) .... Mrs. Lowe
A Hoosier Romance (1918) .... The Squire's Wife
The Still Alarm (1918) .... Undetermined Role
The City of Purple Dreams (1918)
Little Orphant Annie (1918) .... Mrs. Goode
Who Shall Take My Life? (1917) .... Mrs. Munroe
The Curse of Eve (1917) .... The Mother
The Witness for the State (1917)
Her Salvation (1917)
Little Lost Sister (1917) .... Mrs. Welcome
The Crisis (1917) .... Mrs. Brice
Beware of Strangers (1917) .... Mary DeLacy
In After Years (1917)
The Garden of Allah (1916) .... Lady Rens
Twisted Trails (1916) .... Martha, Housekeeper
The Temptation of Adam (1916)
The Woman Who Did Not Care (1916)
A Social Deception (1916)
The Grinning Skull (1916)
Thou Shalt Not Covet (1916) .... My Wife
The Devil-in-Chief (1916)
I'm Glad My Boy Grew Up to Be a Soldier (1915) .... Mrs. Warrington
Just as I Am (1915)
The Bridge of Time (1915)
The Circular Staircase (1915) .... Aunt Ray
The Rosary (1915) .... Widow Kelly
Ingratitude of Liz Taylor (1915)
The Carpet from Bagdad (1915) .... Mrs. Chedsoye
Poetic Justice of Omar Khan (1915)
The Vision of the Shepherd (1915)
The Story of the Blood Red Rose (1914) .... Queen of Urania
The Tragedy That Lived (1914)
Hearts and Masks (1914)
Ye Vengeful Vagabonds (1914)
The Man in Black (1914)
His Fight (1914)
Me an' Bill (1914)
The Fire Jugglers (1914)
The Salvation of Nance O'Shaughnessy (1914)
Elizabeth's Prayer (1914) .... Hilda Crosby, An Unscrupulous Actress
Memories (1914) .... Mary, Professor Scott's Sweetheart
The Master of the Garden (1913)
Phantoms (1913) .... Natalie Storm
The Probationer (1913) .... Granny
Fate Fashions a Letter (1913)
The Acid Test (1913)
The Unseen Defense (1913)
In God We Trust (1913)
The Fighting Lieutenant (1913)
Woman: Past and Present (1913) .... Grandmother America
A Flag of Two Wars (1913)
The Girl and the Judge (1913)
Wamba, a Child of the Jungle (1913)
Indian Summer (1913)
Lieutenant Jones (1913)
In the Days of Witchcraft (1913)
Dollar Down, Dollar a Week (1913)
Love Before Ten (1913) .... Mrs. Walters
Diverging Paths (1913)
The Spanish Parrot Girl (1913) .... Mrs. Avery
The Governor's Daughter (1913)
The Ne'er to Return Road (1913)
The Last of Her Tribe (1912)
Sammy Orpheus; or, The Pied Piper of the Jungle (1912)
The Millionaire Vagabonds (1912) .... Mrs. Knobhill
Opitsah: Apache for Sweetheart (1912)
The Vintage of Fate (1912)
Old Songs and Memories (1912)
His Wedding Eve (1912)
Monte Cristo (1912) .... Mercedes
The Substitute Model (1912)
The Indelible Stain (1912)
Sergeant Byrne of the Northwest Mounted Police (1912)
The Little Indian Martyr (1912)
His Masterpiece (1912)
The Lake of Dreams (1912)
In Exile (1912)
A Child of the Wilderness (1912)
The Hand of Fate (1912)
The End of the Romance (1912) .... Alice Gray
Me an' Bill (1912)
The Junior Officer (1912)
As Told by Princess Bess (1912)
The Danites (1912)
The Cowboy's Adopted Child (1912)
George Warrington's Escape (1911) .... Madame Esmond Warrington
An Evil Power (1911)
The Bootlegger (1911)
Old Billy (1911)
The Blacksmith's Love (1911)
The Regeneration of Apache Kid (1911)
Their Only Son (1911)
Slick's Romance (1911)
The Profligate (1911)
It Happened in the West (1911) .... Prologue
The Craven Heart (1911)
A Sacrifice to Civilization (1911)
One of Nature's Noblemen (1911)
Stability vs. Nobility (1911)
The Still Alarm (1911)
The Mother (1911)
The Other Fellow (1911)
The Wonderful Wizard of Oz (1910) - Aunt Em ” - argamenor2012
Sidney, born Sophia Kosow in The Bronx, New York, was the daughter of Rebecca (née Saperstein), a Romanian Jew, and Victor Kosow, a Russian Jewish immigrant who worked as a clothing salesman. The area from which Victor Kosow came from is today in Belarus. Her parents divorced by 1915 and she was adopted by her stepfather, Sigmund Sidney, a dentist. Her mother became a dressmaker and renamed herself Beatrice Sidney. Now using the surname Sidney, she became an actress at the age of fifteen as a way of overcoming shyness. As a student of the Theater Guild's School for Acting, Sidney appeared in several of their productions during the 1920s and earned praise from theater critics. In 1926, she was seen by a Hollywood talent scout and made her first film appearance later that year.
During the Depression, Sidney appeared in a string of films, often playing the girlfriend or the sister of a gangster. She appeared opposite such heavyweight screen idols as Spencer Tracy, Henry Fonda, Joel McCrea, Fredric March, George Raft (a frequent screen partner), and Cary Grant. Among her films from this period were: An American Tragedy, City Streets and Street Scene (all 1931), Alfred Hitchcock's Sabotage and Fritz Lang's Fury (both 1936), You Only Live Once, Dead End (both 1937) and The Trail of the Lonesome Pine an early three-strip Technicolor film. ” - argamenor2012
October 21, 1895
Paradise Valley, Nevada, U.S.
Died January 11, 1958 (aged 62)
Hollywood, Los Angeles, California, U.S.
Years active 1915–1927
Spouse John P. Squire (1938–1945)
Edna Purviance (October 21, 1895 – January 11, 1958) was an American actress during the silent movie era. She was the leading lady in many Charlie Chaplin movies. In a span of eight years, she appeared in over thirty films with Chaplin.
Edna Purviance (pronounced Purr-VYE-ance) was born in Paradise Valley, Nevada, to Louis and Madison Gates Purviance. When she was three, the family moved to Lovelock, Nevada, where they assumed ownership of a hotel property. Her parents divorced in 1902, and her mother later married Robert Nurnberger, a German plumber. Growing up, Purviance was a talented pianist. She left Lovelock in 1913, and attended business college in San Francisco.
In 1915, Chaplin was working on his second film with Essanay Studios, working out of Niles, California, one hour southeast of San Francisco. He was looking for a leading lady for A Night Out, and one of his associates noticed Purviance at a Tate's Café in San Francisco and thought she should be cast in the role. Chaplin arranged a meeting with her, and although he was concerned that she might be too serious for comedic roles, she won the job.
Chaplin and Purviance were romantically involved during the making of his Essanay, Mutual, and First National films of 1915–1917. Purviance appeared in 33 of Chaplin's productions, including the 1921 classic The Kid. Her last film with him, A Woman of Paris, was also her first lead role. She went on to appear in two more films: The Sea Gull, also known as A Woman of the Sea—which Chaplin never released—and Education de Prince, a French film released in 1927, just before she retired as an actress. Chaplin kept her on his payroll until her death.
Edna Purviance in The Adventurer (1917)
Although she was romantically involved with Chaplin for several years, Purviance eventually married John Squire, a Pan-American Airlines pilot, whom she wed in 1938 and who died in 1945. Recently silent films, in black-and-white and colour, have been discovered that show a glimpse into their life together from the late 1930s and early 1940s, and over 50 production stills from her unreleased film The Sea Gull, have also come to light. These stills have been published with the original title list from the film.
Purviance died of cancer on January 11, 1958, at the age of 62. She is interred in the Grand View Memorial Park Cemetery in Glendale, California.
There is currently a petition drive to commemorate Purviance's career with a star on the Hollywood Walk of Fame. ” - argamenor2012
July 16, 1907
Brooklyn, New York, U.S.
Died January 20, 1990 (aged 82)
Santa Monica, California, U.S.
Robert Taylor (1939–51)
Barbara Stanwyck (July 16, 1907 – January 20, 1990) was an American actress. A film and television star, known during her 60-year career as a consummate and versatile professional with a strong screen presence, and a favorite of directors including Cecil B. DeMille, Fritz Lang and Frank Capra. After a short but notable career as a stage actress in the late 1920s, she made 85 films in 38 years in Hollywood, before turning to television.
Stanwyck was nominated for the Academy Award four times, and won three Emmy Awards and a Golden Globe. She was the recipient of honorary lifetime awards from the Motion Picture Academy, the Film Society of Lincoln Center, the Golden Globes, the Los Angeles Film Critics Association, and the Screen Actors Guild, has a star on the Hollywood Walk of Fame and is ranked as the eleventh greatest female star of all time by the American Film Institute.
Barbara Stanwyck was born Ruby Catherine Stevens in Brooklyn, New York on July 16, 1907. She was the fifth and youngest child of Byron and Catherine (née McGee) Stevens; the couple were working-class natives of Chelsea, Massachusetts, of English and Irish extraction, respectively. When Ruby was four, her mother was killed when a drunken stranger pushed her off a moving streetcar Two weeks after the funeral, Byron Stevens joined a work crew digging the Panama canal; and was never seen again. Ruby and her brother Byron were raised by their elder sister Mildred, five years Ruby's senior. When Mildred got a job as a John Cort showgirl, Ruby and Byron were placed in a series of foster homes (as many as four in a year), from which Ruby often ran away. Ruby attended various public schools in Brooklyn, where she received uniformly poor grades and routinely picked fights with the other students.
During the summers of 1916 and 1917, Ruby toured with Mildred, and practiced her sister's routines backstage. Another influence toward performing was watching the movies of Pearl White, whom Ruby idolized. At age 14, she dropped out of school to take a job wrapping packages at a Brooklyn department store. Soon after she took a job filing cards at the Brooklyn telephone office for a salary of $14 a week, a salary that allowed her to become financially independent.She disliked both jobs; she was interested in show business, but her sister Mildred discouraged the idea, so Ruby next took a job cutting dress patterns for Vogue, however customers complained about her work and she was fired. Her next job was as a typist for the Jerome H. Remick Music Company, a job she reportedly enjoyed; however her true interest was still show business and her sister gave up trying to dissuade her.
In 1923, a few months short of her 16th birthday, Ruby auditioned for a place in the chorus at the Strand Roof, a night club over the Strand Theatre in Times Square. A few months thereafter she obtained a job as a Ziegfeld girl in the 1922 and 1923 editions of the Ziegfeld Follies. For the next several years, she worked as a chorus girl, performing from midnight to seven a.m. at nightclubs owned by Texas Guinan; she also occasionally served as a dance instructor[clarification needed]at a speakeasy for gays and lesbians owned by Guinan.
"I knew that after fourteen I'd have to earn my own living, but I was willing to do that.... I've always been a little sorry for pampered people, and of course, they're very sorry for me."
Barbara Stanwyck, in a 1937 interview
In 1926, Ruby was introduced to Willard Mack by Billy LaHiff, who owned a popular pub frequented by showpeople. Mack was casting his play The Noose; LaHiff suggested that the part of the chorus girl could be played by a real chorus girl, and Mack agreed to let Ruby audition. Ruby obtained the part, but the play was not a success. In a bid to add pathos to the drama, Ruby's part was expanded. At the suggestion of either Mack or David Belasco, Ruby adopted the stage name of Barbara Stanwyck; the "Barbara" came from Barbara Frietchie and the "Stanwyck" from English actress Jane Stanwyck. The Noose re-opened on October 20, 1926, became one of the most successful of the season, running for nine months and 197 performances. Stanwyck co-starred with actors Rex Cherryman and Wilfred Lucas.
Her performance in The Noose earned rave reviews, and she was summoned by film producer Bob Kane to make a screen test for his upcoming 1927 silent film Broadway Nights where she won a minor part of a fan dancer after losing out on the lead role, because she could not cry during the screen test. This marked Stanwyck's first film appearance. She played her first lead part on stage that year in Burlesque; the play was critically panned, but Stanwyck's performance netted her rave reviews. While playing in Burlesque, Stanwyck was introduced to actor Frank Fay by Oscar Levant; Stanwyck and Fay both later claimed they had hated each other immediately, but became close after the sudden death of fellow actor Rex Cherryman at the age of 30. Cherryman had become ill early in 1928, and his doctor had advised a sea voyage; while on a ship to Paris, where he and Stanwyck had arranged to meet, Cherryman died of septic poisoning. Stanwyck and Fay married on August 26, 1928, and moved to Hollywood.
From the trailer for The Lady Eve (1941)
Stanwyck's first sound film was The Locked Door (1929), followed by Mexicali Rose in 1929. Neither film was successful; nonetheless, Frank Capra chose Stanwyck for his Ladies of Leisure (1930). Numerous memorable roles followed, among them the children's nurse who saves two would be juvenile murder victims in Night Nurse (1931), the ambitious woman from "the wrong side of the tracks" in Baby Face (1933), the self-sacrificing mother in Stella Dallas (1937), the con artist who falls for her would-be victim (played by Henry Fonda) in The Lady Eve (1941), the woman who talks an infatuated insurance salesman (Fred McMurray) into killing her husband in Double Indemnity (1944), the columnist caught up in white lies and Christmas romance in Christmas in Connecticut (1945) and the doomed wife in Sorry, Wrong Number (1948). Stanwyck was reportedly one of the many actresses considered for the role of Scarlett O'Hara in Gone With The Wind (1939), although she wasn't given a screen test. In 1944, Stanwyck was the highest-paid woman in the United States.
"That is the kind of woman that makes whole civilizations topple."
Kathleen Howard of Stanwyck's character in Ball of Fire
Pauline Kael described Stanwyck's acting, "[she] seems to have an intuitive understanding of the fluid physical movements that work best on camera" and in reference to her early 1930s film work "early talkies sentimentality ... only emphasizes Stanwyck's remarkable modernism."
Stanwyck was known for her accessibility and kindness to the backstage crew on any film set. She knew the names of their wives and children, and asked after them by name. Frank Capra said she was "destined to be beloved by all directors, actors, crews and extras. In a Hollywood popularity contest she would win first prize hands down."
The Furies, opposite Walter Huston, Wendell Corey, Judith Anderson,
Double indemnity opposite Fred McMurray, Edward G.Robinson,
Union Pacific, opposite Joel McCreal, Roberton Preston,
Lady of Burlesque.............Sorry wrong number......Burt Lancaster... ” - argamenor2012
Her film debut was as a femme fatale in Adam's Rib in 1949. The Asphalt Jungle (1950) provided Hagen with her first starring role beside Sterling Hayden, and excellent reviews. She appeared in the film noir Side Street (1950) playing a gangster's sincere, but none-too-bright gun moll. She is arguably best remembered for her comic performance in Singin' in the Rain as the vain and talentless silent movie star Lina Lamont; Hagen received an Academy Award nomination for Best Supporting Actress.
By 1953, she had joined the cast of the television sitcom Make Room for Daddy. As the first wife of Danny Thomas, Hagen received three Emmy Award nominations, but after three seasons she grew dissatisfied and left the series. Thomas, who also produced the show, reportedly didn't appreciate Jean's departing the successful series, and her character was killed off rather than recast. This was the first TV character to be killed off a family sitcom. Marjorie Lord was cast a year later as Danny's second wife and played against Thomas successfully for several seasons. Hagen starred in the 1957 Alfred Hitchcock Presents, Season 3, Episode 7, entitled "Enough Rope for Two". She appeared as Frida Daniels in The Shaggy Dog starring with Fred MacMurray. In 1960, she appeared as "Elizabeth" in the episode "Once Upon a Knight" of CBS's anthology series The DuPont Show with June Allyson.
Although she made frequent guest appearances in various television series, she was unable to successfully resume her film career, and for the remainder of her career played supporting roles, such as Marguerite LeHand, personal secretary to Franklin Delano Roosevelt in Sunrise at Campobello (1960), and the friend of Bette Davis in Dead Ringer (1964). In the 1960s, Hagen's health began to decline and she spent many years hospitalised or under medical care.
In 1976, she made a comeback of sorts playing character roles in episodes of the television series Starsky and Hutch and The Streets of San Francisco, and made her final film appearance in the 1977 television movie Alexander: The Other Side of Dawn.
in "Singing in the rain"
about the subject of movie dubbing is confusing to some trying to
connect who is who, then what about the strange set-up connected with the classic MGM musical Singin’ in the Rain (1952)? This merry mix-up of real life dubbing was addressed in Ray Hagen’s article on Jean Hagen in Film Fan Monthly (December 1968): "In the film, Debbie Reynolds has been hired to re-dub Jean Hagen’s dialogue and songs in the latter’s first talking picture. We see the process being done in a shot of Reynolds ... matching her dialogue to Hagen’s and synchronizing it while watching a scene from the film. But the voice that is used to replace Hagen’s shrill, piercing one is not Reynolds’ but Hagen’s own quite lovely natural voice—meaning that Jean Hagen dubs Debbie Reynolds’ dubbing Jean Hagen! To further confuse matters, the voice we hear as Hagen mimes "Would You?", supposedly supplied by Reynolds, is that of yet a third girl ... [Betty Royce]". Confusing? Well, there’s more. Although Debbie sang in the movie, notably the title tune (dubbing Hagen!), Debbie herself is dubbed again by Betty Royce in her duet with Gene Kelly "You Are My Lucky Star." ” - argamenor2012
Priscilla Lane (de nombre real Priscilla Mullican) nació el 12 de junio de 1915 en Indianola, Iowa (Estados Unidos).
Ella y sus dos hermanas mayores, Lola y Rosemary, fueron educadas musicalmente por su familia, acudiendo para su instrucción al Conservatorio de Des Moines y a la Eagin School of Dramatic Arts de Nueva York.
En los años 30, Rosemary y Priscilla lograron el puesto de vocalistas en la Pennsylvanians Dance Band de Fred Waring.
En 1937, después de firmar con la Warner y acompañando a Waring, las hermanas Lane (que habían adoptado este apellido artístico tras ser utilizado en el teatro por Lola) debutaron en el cine en la película "Varsity Show" (1937), un musical protagonizado por Dick Powell y dirigido por William Keighley.
Priscilla, la más atractiva de las hermanas, fue la intérprete de mayor éxito del terceto durante el decenio que duró su carrera como actriz.
Rosemary y Priscilla coincidieron con Lola, que había debutado en la pantalla grande en 1935, protagonizando el musical de Michael Curtiz "Four Daughters" (1938). La otra "hija" de la película (que consiguió sacar del anonimato a John Garfield) era la actriz Gale Page.
Garfield volvió a coincidir con el terceto en "Hijas Animosas" (1939) y "Four Wives" (1940), especie de secuelas del título anterior que dirigió de nuevo Michael Curtiz. "Four Mothers" (1941), la última cinta del lote contó con la dirección de William Keighley.
A comienzos del año 1939, Priscilla se casó con Oren Haglund, un futuro asistente de dirección y guionista que la rubia actriz abandonó al segundo día de una boda que fue anulada poco después de su celebración.
Las mejores películas de Priscilla en su corta trayectoria artística fueron "Los Violentos Años 20 (1939), título de gángsters de Raoul Walsh en el que compartía protagonismo con James Cagney y Humphrey Bogart, "Blues In The Night" (1941), film dirigido por Anatole Litvak, "Sabotaje" (1942), título de suspense de Alfred Hichcock co-protagonizado por Robert Cummings, y "Arsénico Por Compasión" (1944), inolvidable comedia negra de Frank Capra en la cual Priscilla representaba el papel de recién casada con Cary Grant.
Después de "Arsénico por compasión", Priscilla Lane solamente intervino en dos películas más, la comedia de Andrew L. Stone "Fun In a Weekend" (1947) y "Bodyguard" (1948), un film de misterio co-protagonizado por Lawrence Tierney que dirigió Richard Fleischer.
En el año 1948 Priscilla se retiró definitivamente del cine para volcarse en su vida marital junto a su segundo esposo, el coronel del ejército del aire estadounidense Joseph A. Howard, con quien se había casado en 1942. Howard dejó viuda a Priscilla en 1976.
El único regreso de la actriz al mundo del espectáculo se produjo en el año 1958, cuando presentó un programa de televisión que duró poco en antena.
El 4 de abril de 1995 y a causa de un cáncer de pulmón Priscilla Lane falleció en la localidad de Andover, Massachusetts. Tenía 79 años. ” - argamenor2012
Debutó en los escenarios de Sydney en el año de 1915 y tuvo su primera aparición en la ciudad de Nueva York en 1918.
Se hizo famosa por sus interpretaciones como Lavinia en la obra teatral de A Electra le sienta bien el luto de Eugene O'Neill 1932, como Gertrudis con la puesta en escena de Hamlet de 1936, en La gaviota y Tres hermanas de Antón Chéjov, con el rol de Lady Macbeth en la producción Macbeth de 1937 a 1941 y por el papel principal en Medea de 1947.
También participó en más de 25 filmes, representando la mayoría de las veces a personajes malvados o siniestros, como su papel de la Señora Danvers en la película Rebeca de 1940 por la que fue nominada a un Oscar como actriz de reparto y como Ann Treadwell en Laura de 1944.
Fue nombrada Dama del Imperio Británico en 1960, ganó un Emmy y un Premio Tony. Murió el 3 de enero de 1992 debido a una neumonía. ” - argamenor2012
Nacimiento 10 de octubre de 1900
Bandera de los Estados Unidos Washington D.C., Estados Unidos
Fallecimiento 17 de marzo de 1993
Nyack, Nueva York, EE. UU.
Helen Hayes fue una actriz angloamericana nacida el 10 de octubre de 1900 en Washington, DC y fallecida el 17 de marzo de 1993 en Nyack en EE. UU..
Descendiente de irlandeses católicos, debutó en teatro a los 5 años y formalmente a los 10.
Una de las máximas estrellas del teatro y cine norteamericanos de su era. Se ganó el apodo de "Primera Dama del teatro norteamericano", y es una de las nueve actrices en haber ganado los premios Emmy, Grammy, Óscar y Tony.
Se la recuerda en teatro como Maria Estuardo, Viola en Noche de reyes de Shakespeare y otras.
En 1986 fue condecorada con la Medalla Presidencial de la Libertad y en 1988 se le otorgó la Medalla de las Artes del gobierno americano.
Escribió tres libros de memorias: A Gift of Joy, On Reflection y My Life in Three Acts.
Casada con el escritor Charles MacArthur, su única hija, Mary, murió de poliomielitis a los 19 años. Su hijo adoptivo - James Mac Arthur- es actor.
En 1983 se establecieron los premios al teatro que llevan su nombre.1 ” - argamenor2012
El apartamento, Ladrona por amor, etc...................... ” - argamenor2012