Brilliant actors
List activity
407 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
123 people
- Actor
- Producer
- Additional Crew
Marcello Mastroianni was born in Fontana Liri, Italy in 1924, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. He debuted in films as an extra in Marionette (1939), then started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. In 1957 Visconti gave him the starring part in his Fyodor Dostoevsky adaptation White Nights (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy Big Deal on Madonna Street (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La Dolce Vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite 8½ (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger & Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La Notte (1961), as an impotent young man in Mauro Bolognini's Bell' Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfan (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's A Special Day (1977). He was nominated for the Academy Award for Best Actor three times, for Divorce Italian Style (1961), A Special Day (1977), and Oci ciornie (1987). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raúl Ruiz, who gave him three excellent parts in Three Lives and Only One Death (1996). He died of pancreatic cancer in 1996.- Actor
- Producer
- Writer
Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s.
Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh.
Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including The Little Shop of Horrors (1960).
Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and One Flew Over the Cuckoo's Nest (1975), for which he won his first Best Actor Oscar.
The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980). A string of well-received films followed, including Terms of Endearment (1983), which earned Nicholson his second Oscar; Prizzi's Honor (1985), and The Witches of Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as A Few Good Men (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996).
Although a glimpse at the darker side of Nicholson's acting range reappeared in The Departed (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in As Good as It Gets (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Something's Gotta Give (2003), and The Bucket List (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994.
Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child.- Actor
- Writer
- Producer
One of England's most versatile character actors, Jim Broadbent was born on May 24, 1949, in Lincolnshire, the youngest son of furniture maker Roy Laverick Broadbent and sculptress Doreen "Dee" (Findlay) Broadbent. Jim attended a Quaker boarding school in Reading before successfully applying for a place at an art school. His heart was in acting, though, and he would later transfer to the London Academy of Music and Dramatic Art (LAMDA). Following his 1972 graduation, he began his professional career on the stage, performing with the Royal National Theatre, the Royal Shakespeare Company, and as part of the National Theatre of Brent, a two-man troupe which he co-founded. In addition to his theatrical work, Broadbent did steady work on television, working for such directors as Mike Newell and Stephen Frears. Broadbent made his film debut in 1978 with a small part in Jerzy Skolimowski's The Shout (1978). He went on to work with Frears again in The Hit (1984) and with Terry Gilliam in Time Bandits (1981) and Brazil (1985), but it was through his collaboration with Mike Leigh that Broadbent first became known to an international film audience. In 1990 he starred in Leigh's Life Is Sweet (1990), a domestic comedy that cast him as a good-natured cook who dreams of running his own business. Broadbent gained further visibility the following year with substantial roles in Neil Jordan's The Crying Game (1992) and Mike Newell's Enchanted April (1991), and he could subsequently be seen in such diverse fare as Woody Allen's Bullets Over Broadway (1994), Widows' Peak (1994), Richard Loncraine's highly acclaimed adaptation of Shakespeare's Richard III (1995) and Little Voice (1998), the last of which cast him as a seedy nightclub owner. Appearing primarily as a character actor in these films, Broadbent took center stage for Leigh's Topsy-Turvy (1999), imbuing the mercurial W.S. Gilbert with emotional complexity and comic poignancy. Jim's breakthrough year was 2001, as he starred in three critically and commercially successful films. Many would consider him the definitive supporting actor of that year. First he starred as Bridget's dad (Colin Jones) in Bridget Jones's Diary (2001), which propelled Renée Zellweger to an Oscar nomination for Best Actress. Next came the multiple Oscar-nominated film (including Best Picture) Moulin Rouge! (2001), for which he won a Best Supporting Actor BAFTA award for his scene-stealing performance as Harold Zidler. Lastly, came the small biopic Iris (2001), for which he won the Oscar for Best Supporting Actor as devoted husband John Bayley to Judi Dench's Iris Murdoch, the British novelist who suffered from Alzheimer's disease. The film hit home with Jim, since his own mother had passed away from Alzheimer's in 1995.- Actor
- Additional Crew
- Director
Max von Sydow was born Carl Adolf von Sydow on April 10, 1929 in Lund, Skåne, Sweden, to a middle-class family. He was the son of Baroness Maria Margareta (Rappe), a teacher, and Carl Wilhelm von Sydow, an ethnologist and folklore professor. His surname traces back to his partial German ancestry.
When he was in high school, he and a few fellow students, including Yvonne Lombard, started a theatre club which encouraged his interest in acting. After conscription, he began to study at the Royal Dramatic Theatre's acting school (1948-1951), together with Lars Ekborg, Margaretha Krook and Ingrid Thulin. His first role was as Nils the crofter in Alf Sjöberg's Only a Mother (1949). After graduation, he worked at the city theatres in Norrköping and Malmö.
His work in the movies by Ingmar Bergman (especially The Seventh Seal (1957), including the iconic scenes in which he plays chess with Death) made him well-known internationally, and he started to get offers from abroad. His career abroad began with him playing Jesus in The Greatest Story Ever Told (1965); Hawaii (1966) and The Quiller Memorandum (1966). Since then, his career includes very different kind of characters, like Karl Oskar Nilsson in The Emigrants (1971); Father Lankester Merrin in The Exorcist (1973); Joubert the assassin in Three Days of the Condor (1975), Emperor Ming in Flash Gordon (1980); the villain Ernst Stavro Blofeld in the Never Say Never Again (1983); Liet-Kynes in Dune (1984) the artist Frederick in Hannah and Her Sisters (1986); Lassefar in Pelle the Conqueror (1987), for which he received his first Academy Award nomination; Dr. Peter Ingham in Awakenings (1990); Lamar Burgess in Minority Report (2002) and The Renter in Extremely Loud & Incredibly Close (2011), which earned him his second Academy Award nomination.
He became one of Sweden's most admired and professional actors, and is the only male Swedish actor to receive an Oscar nomination. He was nominated twice: for Pelle the Conqueror (1987) in 1988 and for Extremely Loud & Incredibly Close (2011) in 2012. He received the Guldbagge Award for Best Director in his directing debut, the drama film Ved vejen (1988). In 2016, he joined the sixth season of the HBO series Game of Thrones (2011) as the Three-eyed Raven, which earned him his Primetime Emmy Award nomination.
Max von Sydow died on March 8, 2020, in Provence, France, and was survived by his wife Catherine Brelet and four children. He was 90.- Actor
- Soundtrack
One of stage, screen and TV's finest transatlantic talents, slight, gravel-voiced, pasty-looking John Vincent Hurt was born on January 22, 1940, in Shirebrook, a coal mining village, in Derbyshire, England. The youngest child of Phyllis (Massey), an engineer and one-time actress, and Reverend Arnould Herbert Hurt, an Anglican clergyman and mathematician, his quiet shyness betrayed an early passion for acting. First enrolled at the Grimsby Art School and St. Martin's School of Art, his focus invariably turned from painting to acting.
Accepted into the Royal Academy of Dramatic Art in 1960, John made his stage debut in "Infanticide in the House of Fred Ginger" followed by "The Dwarfs." Elsewhere, he continued to build upon his 60's theatrical career with theatre roles in "Chips with Everything" at the Vaudeville, the title role in "Hamp" at the Edinburgh Festival, "Inadmissible Evidence" at Wyndham's and "Little Malcolm and His Struggle Against the Eunuchs" at the Garrick. His movie debut occurred that same year with a supporting role in the "angry young man" British drama Young and Willing (1962), followed by small roles in Appuntamento in Riviera (1962), A Man for All Seasons (1966) and The Sailor from Gibraltar (1967).
A somber, freckled, ravaged-looking gent, Hurt found his more compelling early work in offbeat theatrical characterizations with notable roles such as Malcolm in "Macbeth" (1967), Octavius in "Man and Superman" (1969), Peter in "Ride a Cock Horse" (1972), Mike in '"The Caretaker" (1972) and Ben in "The Dumb Waiter" (1973). At the same time he gained more prominence in a spray of film and support roles such as a junior officer in Before Winter Comes (1968), the title highwayman in Sinful Davey (1969), a morose little brother in In Search of Gregory (1969), a dim, murderous truck driver in 10 Rillington Place (1971), a skirt-chasing, penguin-studying biologist in Cry of the Penguins (1971), the unappetizing son of a baron in The Pied Piper (1972) and a repeat of his title stage role as Little Malcolm and His Struggle Against the Eunuchs (1974).
Hurt shot to international stardom, however, on TV where he was allowed to display his true, fearless range. He reaped widespread acclaim for his embodiment of the tormented gay writer and raconteur Quentin Crisp in the landmark television play The Naked Civil Servant (1975), adapted from Crisp's autobiography. Hurt's bold, unabashed approach on the flamboyant and controversial gent who dared to be different was rewarded with the BAFTA (British TV Award). This triumph led to the equally fascinating success as the cruel and crazed Roman emperor Caligula in the epic television masterpiece I, Claudius (1976), followed by another compelling interpretation as murderous student Raskolnikov in Crime and Punishment (1979).
A resurgence occurred on film as a result. Among other unsurpassed portraits on his unique pallet, the chameleon in him displayed a polar side as the gentle, pathetically disfigured title role in The Elephant Man (1980), and as a tortured Turkish prison inmate who befriends Brad Davis in the intense drama Midnight Express (1978) earning Oscar nominations for both. Mainstream box-office films were offered as well as art films. He made the most of his role as a crew member whose body becomes host to an unearthly predator in Alien (1979). With this new rush of fame came a few misguided ventures as well that were generally unworthy of his talent. Such brilliant work as his steeple chase jockey in Champions (1984) or kidnapper in The Hit (1984) was occasionally offset by such drivel as the comedy misfire Partners (1982) with Ryan O'Neal in which Hurt looked enervated and embarrassed. For the most part, the craggy-faced actor continued to draw extraordinary notices. Tops on the list includes his prurient governmental gadfly who triggers the Christine Keeler political sex scandal in the aptly-titled Scandal (1989); the cultivated gay writer aroused and obsessed with struggling "pretty-boy" actor Jason Priestley in Love and Death on Long Island (1997); and the Catholic priest embroiled in the Rwanda atrocities in Shooting Dogs (2005).
Latter parts of memorable interpretations included Dr. Iannis in Captain Corelli's Mandolin (2001), the recurring role of the benign wand-maker Mr. Ollivander in Harry Potter and the Sorcerer's Stone (2001) and Harry Potter and the Deathly Hallows: Part 1 (2010), the tyrannical dictator Adam Sutler in V for Vendetta (2005) and the voice of The Dragon in Merlin (2008). Among Hurt's final film appearances were as a terminally ill screenwriter in That Good Night (2017) and a lesser role in the mystery thriller Damascus Cover (2017). Hurt's voice was also tapped into animated features and documentaries, often serving as narrator. He also returned to the theatre performing in such shows as "The Seagull", "A Month in the Country" (1994), "Afterplay" (2002) and "Krapp's Last Tape", the latter for which he received the Los Angeles Drama Critics Circle Award.
A recovered alcoholic who married four times, Hurt was appointed Commander of the Order of the British Empire (CBE) by the Queen in 2004, and Knight Bachelor of the Order of the British Empire in 2015. That same year (2015) he was diagnosed with pancreatic cancer. In July of 2016, he was forced to bow out of the father role of Billy Rice in a then-upcoming London stage production of "The Entertainer" opposite Kenneth Branagh due to ill health that he described as an "intestinal ailment". Hurt died several months later at his home in Cromer, Norfolk, England on January 15, 2017, three days after his 77th birthday.- Born to George & Frances Simonson Walter, and named Sterling Relyea Walter. Father died in 1925. Adopted by stepfather 'James Hayden' renamed Sterling Walter Hayden. Grew up in New Hampshire, Massachusetts, Pennsylvania, Washington D.C., and Maine. Though very poor, attended prep school at Wassookeag School in Dexter, Maine. Ran away to sea at 17, first as ship's boy, then as doryman on the Grand Banks, as a seaman and fireman on numerous vessels before getting his first command at 19. He sailed around the world a number of times, becoming a well-known and highly respected ship's captain. At urging of friends, met with producer Edward H. Griffith who signs him to a Paramount contract. Fell for his first leading lady, Madeleine Carroll, and married her. Prior to Pearl Harbor, abandoned Hollywood to become a commando with the COI (later the OSS). Joined Marines under pseudonym "John Hamilton" (a name he never acts under), eventually running guns and supplies to Yugoslav partisans through the German blockade of the Adriatic, as well as parachuting into Croatia for guerrilla activities. Won Silver Star and citation from Tito of Yugoslavia. Briefly flirted with Communist Party membership due to friendship with Yugoslav Communists. Returned to film work, which he despised, in order to pay for a succession of sailing vessels. As Red Scare deepens in U.S., he cooperated with the House Un-American Activities Committee, confessing his brief Communist ties. Ever after regretted this action, holding himself in enormous contempt for what he considered "ratting". Offered role of Tarzan as replacement for Lex Barker, but refused. Made headlines defying court order not to sail to Tahiti with his children following divorce decree. Published autobiography "Wanderer" in 1963, and novel "Voyage" in 1976, both to great acclaim. Cast as Quint in Jaws (1975) but unable to play due to tax problems. Died of cancer in 1986.
- Actor
- Director
- Producer
George C. Scott was an immensely talented actor, a star of the big screen, stage and television. He was born on October 18, 1927 in Wise, Virginia, to Helena Agnes (Slemp) and George Dewey Scott. At the age of eight, his mother died, and his father, an executive at Buick, raised him. In 1945, he joined the United States Marines and spent four years with them, no doubt an inspiration for portraying General George S. Patton years later. When Scott left the Marines, he enrolled in journalism classes at the University of Missouri, but it was while performing in a play there that the acting bug bit him. He has said it "clicked, just like tumblers in a safe."
It was in 1957 that he landed a role in "Richard III" in New York City. The play was a success and brought the young actor to the attention of critics. He soon began to get work on television, mostly in live broadcasts of plays, and he landed the role of the crafty prosecutor in Anatomy of a Murder (1959). It was this role that got him his first Oscar nomination, for Best Supporting Actor.
However, George and Oscar wouldn't actually become the best of friends. In fact, he felt the whole process forced actors to become stars and that the ceremony was little more than a "meat market." In 1962, he was nominated again for Best Supporting Actor, this time opposite Paul Newman in The Hustler (1961), but sent a message saying "No, thanks" and refused the nomination.
However, whether he was being temperamental or simply stubborn in his opinion of awards, it did not seem to stop him from being nominated in the future. "Anatomy" and "The Hustler" were followed by the clever mystery The List of Adrian Messenger (1963), in which he starred alongside Kirk Douglas, Robert Mitchum and cameos by major stars of the time, including Burt Lancaster and Frank Sinatra. It's a must-see, directed by John Huston with tongue deeply in cheek.
The following year, Scott starred as General "Buck" Turgidson in Stanley Kubrick's comical anti-war film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). This became one of his favorites and he often said that he felt guilty getting paid for it, as he had so much fun making it. Another comedy followed, The Flim-Flam Man (1967), with Scott playing a smooth-talking con artist who takes on an apprentice whom he soon discovers has too many morals.
Three years followed, with some smaller television movies, before he got the role for which he will always be identified: the aforementioned General Patton in Patton (1970). This was a war movie that came at the end of a decade where anti-war protests had rocked a nation and become a symbol of youth dissatisfied with what was expected of them. Still, the actor's portrayal of this aggressive military icon actually drew sympathy for the controversial hero. He won the Oscar this time, but stayed at home watching hockey instead.
A pair of films that he made in the early 1980s were outstanding. The first of these was The Changeling (1980), a film often packaged as a horror movie but one that's really more of a supernatural thriller. He plays John Russell, a composer and music professor who loses his wife and daughter in a tragic accident. Seeking solace, he moves into an archaic mansion that had been unoccupied for 12 years. However, a child-like presence seems to be sharing the house with him and trying to share its secrets with him. From learning of the house's past, he discovers its horrific secret of long ago, a secret that the presence will no longer allow to be kept.
Then he starred -- along with a young cast of then largely unknowns, including Timothy Hutton, Sean Penn and Tom Cruise -- in the intense drama Taps (1981). He played the head of a military academy that's suddenly slated for destruction when the property is sold to local developers who plan to build condos. The students take over the academy when they feel that the regular channels are closed to them.
Scott kept up in films, television and on stage in the later years of his life (Broadway dimmed its lights for one minute on the night of his death). Among his projects were playing Ebenezer Scrooge in a worthy television update of A Christmas Carol (1984), an acclaimed performance on Broadway of "Death of a Salesman", the voice of McLeach in Disney's The Rescuers Down Under (1990) and co-starring roles in television remakes of two classic films, 12 Angry Men (1997) and Inherit the Wind (1999), to name just a few. After his death the accolades poured in, with Jack Lemmon saying, "George was truly one of the greatest and most generous actors I have ever known," while Tony Randall called him "the greatest actor in American history".- Actor
- Music Department
- Soundtrack
Sir Michael Gambon was born in Cabra, Dublin, Ireland, to Mary (Hoare), a seamstress, and Edward Gambon, an engineer. After joining the National Theatre, under the Artistic Directorship of Sir Laurence Olivier, Gambon went on to appear in a number of leading roles in plays written by Alan Ayckbourn. His career was catapulted in 1980 when he took the lead role in John Dexter's production of "Galileo". Since then, Gambon has regularly appeared at the Royal National Theatre and the RSC. Roles include, King Lear, Othello, Mark Anthony and Volpone. He was described by the late Sir Ralph Richardson as being "The Great Gambon" and he is now considered to be one of the British theatre's leading lights. He was made a CBE in 1992.- Actor
- Soundtrack
Being the son of an acting father, Oscar Johanson, it isn't surprising that he wanted to be an actor already as a child. However, he first worked as a baker's apprentice, in a barber shop or in the docks. After the conscription he got his first role, a bit part on the theater Lilla Teatern in Stockholm, while he took acting lessons. One of his early roles was against Gösta Ekman, one of the best Swedish actors of that day. In the autumn 1933 he became a student at the Royal Dramatic Theater's acting school, along with Ingrid Bergman, Signe Hasso and the girl who was to become his lifelong wife, Lillie Björnstrand. After graduation they found employment at the Swedish Theater in Vasa, Finland. After two years of stage acting they returned to Sweden and outmost poverty. Besides small time stage acting he was only offered bit parts in the movies. In 1943 he made his breakthrough debut with Night in the Harbor (1943). During WW2 he also made his first work with Ingmar Bergman on the theater: August Strindberg's play Spöksonaten. He mainly appeared in light comedies until the movies that made him internationally famous: Ingmar Bergman's Sawdust and Tinsel (1953), A Lesson in Love (1954) and Smiles of a Summer Night (1955). He became a close friend of Mr. Bergman. The 1960s was less successful and when his contract with Svensk Filmindustri (SF) ended, it wasn't renewed. Instead he made TV-theater, theater in Sweden and movies in Italy almost until his death. Other interesting movies with him are Kristin kommenderar (1946), Soldat Bom (1948) and Secrets of Women (1952).- Actor
- Writer
- Soundtrack
Sir Dirk Bogarde, distinguished film actor and writer, was born Derek Jules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric van den Bogaerde, the art editor of "The Times" (London) newspaper, and actress Margaret Niven in the London suburb of Hampstead. He was one of three children, with sister Elizabeth and younger brother Gareth. His father was Flemish and his mother was of Scottish descent.
Ulric Bogaerde started the Times' arts department and served as its first art editor. Derek's mother, Margaret - the daughter of actor and painter Forrest Niven - appeared in the play "Bunty Pulls The Strings", but she quit the boards in accordance with her husband's wishes. The young Derek Bogaerde was raised at the family home in Sussex by his sister, Elizabeth, and his nanny, Lally Holt.
Educated at the Allen Glen's School in Glasgow, he also attended London's University College School before majoring in commercial art at Chelsea Polytechnic, where his teachers included Henry Moore. Though his father wanted his eldest son to follow him into the "Times" as an art critic and had groomed him for that role, Derek dropped out of his commercial art course and became a drama student, though his acting talent at that time was unpromising. In the 1930s he went to work as a commercial artist and a scene designer.
He apprenticed as an actor with the Amersham Repertory Company, and made his acting debut in 1939 on a small London stage, the Q Theatre, in a role in which he delivered only one line. His debut in London's West End came a few months later in J.B. Priestley's play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war George Formby comedy Come on George! (1939).
The September 1939 invasion of Poland by Nazi Germany and the Soviet Union triggered World War II, and in 1940 Bogarde joined the Queen's Royal Regiment as an officer. He served in the Air Photographic Intelligence Unit and eventually attained the rank of major. Nicknamed "Pippin" and "Pip" during the war, he was awarded seven medals in his five years of active duty. He wrote poems and painted during the war, and in 1943, a small magazine published one of his poems, "Steel Cathedrals," which subsequently was anthologized. His paintings of the war are part of the Imperial War Museum's collection.
Similar to his character, Captain Hargreaves, in King & Country (1964), he was called upon to put a wounded soldier out of his misery, a tale recounted in one of his seven volumes of autobiography. While serving with the Air Photographic Intelligence Unit, he took part in the liberation of the Bergen-Belsen concentration camp, which he said was akin to "looking into Dante's Inferno".
In one of his autobiographies, he wrote, "At 24, the age I was then, deep shock stays registered forever. An internal tattooing which is removable only by surgery, it cannot be conveniently sponged away by time."
After being demobilized, he returned to acting. His agent re-christened him "Dirk Bogarde," a name that he would make famous within a decade. In 1947 he appeared in "Power Without Glory" at the New Lindsay Theatre, a performance that was praised by Noël Coward, who urged him to continue his acting career. The Rank Organization had signed him to a contract after a talent scout saw him in the play, and he made his credited movie debut in Dancing with Crime (1947) with a one-line bit as a policeman.
His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed Stewart Granger film Sin of Esther Waters (1948). When Granger dropped out, Bogarde took over the lead. Rank subsequently signed him to a long-term contract and he appeared in a variety of parts during the 14 years he was under contract to the studio.
For three years he toiled in Rank movies as an apprentice actor without making much of a ripple; then in 1950, he was given the role of young hood Tom Riley in the crime thriller The Blue Lamp (1950) (the title comes from the blue-colored light on police call-boxes in London), the most successful British film of 1950, which established Bogarde as an actor of note. Playing a cop killer, an unspeakable crime in the England of the time, it was the first of the intense neurotics and attractive villains that Bogarde would often play.
He continued to act on-stage, appearing in the West End in Jean Anouilh's "Point of Departure". While he was praised for his performance, stage acting made him nervous, and as he became more famous, he began to be mobbed by fans. The pressure of the public adulation proved overwhelming, particularly as he suffered from stage fright. He was accosted by crowds of fans at the stage door during the 1955 touring production of "Summertime," and his more enthusiastic admirers even shouted at him during the play. He was to appear in only one more play, the Oxford Playhouse production of "Jezebel," in 1958. He never again took to the boards, despite receiving attractive offers.
He first acted for American expatriate director Joseph Losey in The Sleeping Tiger (1954). Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct The Woman on Pier 13 (1949) at RKO Pictures, which was owned by right-wing multi-millionaire Howard Hughes at the time, and he was accused in testimony before the House Un-American Activities Committee of being a Communist. The director, like Bogarde, would not find his stride until the early 1960s, and Losey and Bogarde would build their reputations together.
First, however, Losey had to overcome Bogarde's reluctance to star in a low-budget film (shot for $300,000) with a blacklisted American director. Losey, who had never heard of Bogarde until he was proposed for the film, met with him and asked Bogarde to view one of his pictures. After seeing the film, Bogarde was enthusiastic, and Losey talked him into taking the role, which he accepted at a reduced fee (Losey originally was not credited with directing the film due to his being blacklisted in the States). A decade later they would make more memorable films that would be watersheds in their careers.
It was not drama but comedy that made Dirk Bogarde a star. He achieved the first rank of English movie stardom playing Dr. Simon Sparrow in the comedy Doctor in the House (1954). The film was a smash hit, becoming one of the most popular British films in history, with 17 million admissions in its first year of release. As Sparrow, Bogarde became a heartthrob and the most popular British movie star of the mid-50s. He reprised the character in Doctor at Sea (1955), Doctor at Large (1957).
The title of the latter film may have described his mood as a serious actor having to do another turn as Dr. Sparrow between his career-making performances in Losey's The Servant (1963), with a script by Harold Pinter, and Losey's adaptation of the stage play King & Country (1964), in which Bogarde memorably played the attorney for a young deserter (played by Tom Courtenay).
Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in Look Back in Anger (1959) by producer Harry Saltzman and director Tony Richardson, based on the play that touched off the "Angry Young Man" and "Kitchen Sink School" of contemporary English drama in the 1950s. Though Bogarde wanted to take the part, Rank refused to let him make the film on the grounds that there was "altogether too much dialog." The part went to Richard Burton instead, who went over-the-top in portraying his very angry, not-so-young man.
After this disappointment, Bogarde went to Hollywood to play Franz Liszt in Song Without End (1960) and to appear in Nunnally Johnson's Spanish Civil War drama The Angel Wore Red (1960) with Ava Gardner. Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on.
He was reportedly quite smitten with his French "Song Without End" co-star Capucine, and wanted to marry her. Capucine, who suffered from bi-polar disorder, was bisexual with an admitted preference for women. The relationship did not lead to marriage, but did result in a long-term friendship. It apparently was his only serious relationship with a woman, though he had many women friends, including his I Could Go on Singing (1963) co-star Judy Garland.
In the early 1960s, with the expiration of his Rank contract, Bogarde made the decision to abandon his hugely successful career in commercial movies and concentrate on more complex, art house films (at the same time, Burt Lancaster made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in Basil Dearden's seminal film Victim (1961), the first British movie to sympathetically address the persecution of homosexuals. His career choice alienated many of his old fans, but he was no longer interested in being a commercial movie star; he, like Lancaster, was interested in developing as an actor and artist (however, that sense of finding himself as an actor did not extend to the stage. His reputation was such in 1963 that he was invited by National Theatre director Laurence Olivier to appear as Hamlet to open the newly built Chichester Festival Theatre. That production of the eponymous play also was intended to open the National Theatre's first season in London. Bogarde declined, and the honor went instead to Peter O'Toole, who floundered in the part.)
Jack Grimston, in Bogarde's "Sunday Times" obituary of May 9, 1999, entitled "Bogarde, a solitary star at the edge of the spotlight," said of the late actor that he "belonged to a group that was rare in the British cinema. He was a fine screen player who owed little to the stage. Dilys Powell, the Sunday Times film critic, wrote of him before her own death: 'Most of our gifted film players really belonged to the theater. Bogarde belonged to the screen.'" Bogarde had won the London Critics Circle's Dilys Powell award for outstanding contribution to cinema in 1992.
Appearing in "Victim" was a huge career gamble. In the film, Bogarde played a married barrister who is being blackmailed over his closeted homosexuality. Rather than let the blackmail continue, and allow the perpetrators to victimize other gay men, Bogarde's character effectively sacrifices himself, specifically his marriage and his career, by bravely confessing to be gay (homosexuality was an offence in the United Kingdom until 1967, and there reportedly had been a police crackdown against homosexuals after World War II which made gay men particularly vulnerable to blackmail).
The film was not released in mainstream theaters in the US, as the Production Code Administration (PCA) refused to classify the film and most theaters would not show films that did not carry the PCA seal of approval. "Victim" was the antithesis of the light comedy of Bogarde's "Doctor" movies, and many fans of his character Simon Sparrow were forever alienated by his portrayal of a homosexual. For himself, Bogarde was proud of the film and his participation in it, which many think stimulated public debate over homosexuality. The film undoubtedly raised the public consciousness over the egregious and unjust individual costs of anti-gay bigotry. The public attitude towards the "love that dared not speak its name" changed enough so that within six years, the 1967 Sexual Offences Act decriminalizing homosexual acts between adults passed Parliament. Bogarde reported that he received many letters praising him for playing the role. His courage in taking on such a role is even more significant in that he most likely was gay himself, and thus exposed himself to a backlash.
Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, Anthony Forwood, had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced Glynis Johns. Forwood became Bogarde's friend and subsequently his life partner, and the two moved to France together in 1968. They bought a 15th-century farmhouse near Grasse in Provence in the early 1970s, which they restored. Bogarde and Forwood lived in the house until 1983, when they returned to London so that Forwood could be treated for cancer, from which he eventually died in 1988. Bogarde nursed him in the last few months of his life. After Forwood died, Bogarde was left rudderless and he became more reclusive, eventually retiring from films after Daddy Nostalgia (1990).
Mark Rowe and Jeremy Kay, in their obituary of Bogarde, "Two brilliant lives - on film and in print," published in "The Independent" on May, 9, 1999, wrote, "Although he documented with frankness his early sexual encounters with girls and later his adoring love for Kay Kendall and Judy Garland, he never wrote about his longest and closest relationship - with his friend and manager for more than 50 years, Tony Forwood. Sir Dirk said the clues to his private life were in his books. "If you've got your wits about you, you will know who I am." The British documentary The Private Dirk Bogarde: Part One (2001) made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners.
In the same issue, the National Film Theatre's David Thompson, in the article "The public understood he was essentially gay," wrote about Bogarde at his high-water mark in the 1950s, that "Audiences of that time loved him . . . Very few people picked up on the fact that there was a distinct gay undertone. It says something about British audiences of the time. He had the good fortune to break out of that prison, and it came through the film Victim (1961), where he played a gay character, and through meeting with Joseph Losey, who directed him in The Servant (1963). For the first time, Bogarde's ambivalence was exploited and used by film."
Bogarde's sexuality is not the issue; what was striking was that it was an act of personal courage for one of Britian's leading box-office attractions to appear in such a provocative and controversial film. Even in the 21st century, many mainstream actors are afraid to play a gay character lest they engender a public backlash against themselves, which is much less likely than it was more than 40 years ago when Bogarde made "Victim."
Apart from sociology, "Victim" marks the milestone in which critics and audiences could discern the metamorphosis of Bogarde into the mature actor who went on to become one of the cinema's finest performers. Most of Bogarde's best and most serious roles come after "Victim," the film in which he first stretched himself and broke out of the mold of "movie star." He received the first of his six nominations as Best Actor from the British Academy of Film & Television Arts (BAFTA) for the film.
Bogarde co-starred with John Mills in The Singer Not the Song (1961), and with Alec Guinness in Damn the Defiant! (1962) (a.k.a. "Damn the Defiant!"). In 1963 he reunited with Losey to film the first of two Losey films with screenplays by Pinter. Bogarde's participation in the two Losey/Pinter collaborations, The Servant (1963) and Accident (1967), in addition to 1964's "King & Country", solidified his reputation. Critics and savvy moviegoers appreciated the fact that Bogarde had developed into a first-rate actor. For his role as the eponymous servant, Bogarde won BAFTA's Best Actor Award. He had now "officially" arrived in the inner circle of the best British film actors.
These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof Modesty Blaise (1966), but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's The Assassination of Trotsky (1972) due to the poor quality of the script).
Philip French, in his obituary "Dark, exotic and yet essentially English", published in "The Observer" on May 9, 1999, said of Bogarde, "Losey discovered something more complex and sinister in his English persona and his performance as Barrett, the malevolent valet in 'The Servant,' scripted by Harold Pinter, is possibly the most subtle, revealing thing he ever did - by confronting his homosexuality in a non-gay context."
Losey told interviewer Michel Ciment that his work with Bogarde represented a turning point in the actor's career, when he developed into an actor of depth and power. He also frankly admitted to Ciment that without Bogarde, his career would have stagnated and never reached the heights of success and critical acclaim that it did in the 1960s.
Interestingly during the filming of "The Servant." Losey was hospitalized with pneumonia. He asked Bogarde to direct the film in order to keep shooting so that the producers would not cancel the film. A reluctant Bogarde complied with Losey's wishes and directed for ten days. He later said that he would never direct again.
Bogarde co-starred with up-and-coming actress Julie Christie in John Schlesinger's Darling (1965), for which Christie won a Best Actress Oscar and was vaulted into 1960s cinema superstardom. During the filming of the movie, both Bogarde and Christie were waiting to hear whether they would be cast as Yuri Zhivago and his lover Lara in David Lean's upcoming blockbuster Doctor Zhivago (1965). Christie got the call, Bogarde didn't, but he was well along in the process of establishing himself as one of the screen's best and most important actors. He won his second BAFTA Best Actor Award for his performance in "Darling."
Bogarde went on to major starring roles in such important pictures as The Fixer (1968), for which Alan Bates won a Best Actor Academy Award nomination. While Bogarde never was nominated for an Oscar, he had the honor of starring in two films for Luchino Visconti, The Damned (1969) ("The Damned") and Death in Venice (1971), based on Thomas Mann's novella "Death in Venice." Bogarde felt that his performance as Gustav von Aschenbach, the dying composer in love with a young boy and with the concept of beauty, in "Death in Venice" was the "the peak and end of my career . . . I can never hope to give a better performance in a better film."
Visconti told Bogarde that when the lights went up in a Los Angeles screening room after a showing of "Death in Venice" for American studio executives, no one said anything. The silence encouraged Visconti, who believed it meant that the executives were undergoing a catharsis after watching his masterpiece. However, he soon realized that, in Bogarde's own words, "Apparently they were stunned into horrified silence . . . A group of slumped nylon-suited men stared dully at the blank screen." One nervous executive, feeling something should be said, got up and asked, "Signore Visconti, who was responsible for the score of the film?"
"Gustav Mahler," Visconti replied.
"Just great!", said the nervous man. "I think we should sign him."
After "Venice", Bogarde made only seven films over the next two decades and was scathing about the quality of the scripts he was offered. To express himself artistically, he began to write. In his third volumes of autobiography, he wrote, "No longer do the great Jewish dynasties hold power: the people who were, when all is said and done, the Picture People. Now the cinema is controlled by vast firms like Xerox, Gulf & Western, and many others who deal in anything from sanitary-ware to property development. These huge conglomerates, faceless, soulless, are concerned only with making a profit; never a work of art . . . "
He rued the fact that "it is pointless to be 'superb' in a commercial failure; and most of the films which I had deliberately chosen to make in the last few years were, by and large, just that. Or so I am always informed by the businessmen. The critics may have liked them extravagantly, but the distributors shy away from what they term 'A Critic's Film', for it often means that the public will stay away. Which, in the mass, they do: and if you don't make money at the box-office you are not asked back to play again."
However, the courageous artist was not to be daunted: "But I'd had very good innings. Better than most. So what the hell?" His well-written works were enthusiastically received by critics and the book-buying public.
Bogarde appeared in another film that flirted with the theme of German fascism, Liliana Cavani's highly controversial The Night Porter (1974) ("The Night Porter"). He played an ex-SS officer who encounters a woman with whom he had been engaged in a sado-masochistic affair at a World War II Nazi extermination camp. Many critics found the film, which featured extensive nudity courtesy of Charlotte Rampling, crassly offensive, but no one faulted Bogarde's performance.
He played Lt. Gen. Frederick "Boy" Browning in the all-star blockbuster A Bridge Too Far (1977). Although some of his fellow actors were World War II veterans, only Bogarde had been involved in the actual battle. His performance arguably is the best in the film. Appearing in Alain Resnais' art house hit Providence (1977) gave Bogarde the opportunity to co-star with John Gielgud. He also starred in German wunderkind Rainer Werner Fassbinder's adaptation of Vladimir Nabokov's Despair (1978), with a script by Tom Stoppard. Though the film was not much of a critical success, Bogarde's acting as 1930s German businessman Hermann Hermann, a man who chooses to go mad when faced with the paradoxes of his life in his proto-fascist fatherland, was highly praised.
Bogarde enjoyed working with Fassbinder. He wrote that "Rainer's work was extraordinarily similar to that of Visconti's; despite their age difference, they both behaved, on set, in much the same manner. Both had an incredible knowledge of the camera: the first essential. Both knew how it could be made to function; they had the same feeling for movement on the screen, of the all-important (and often-neglected) 'pacing' of a film, from start to finish, of composition, of texture, and probably most of all they shared that strange ability to explore and probe into the very depths of the character which one had offered them."
After his experience with Fassbinder, he acted only four more times, twice in feature films and twice on television. Bogarde was nominated for a Golden Globe for playing Roald Dahl in The Patricia Neal Story (1981). He got rave reviews playing Jane Birkin's father in Bertrand Tavernier's Daddy Nostalgia (1990), his last film.
In 1984 Bogarde was asked to serve as president of the jury at the Cannes Film Festival, a huge honor for the actor, as he was the first Briton ever to serve in that capacity. Two years earlier he had been made a Chevalier de l'Ordre des lettres 1982. A decade later, he was knighted by Queen Elizabeth II on February 13, 1992.
Bogarde won two Best Actor Awards out of six nominations from the British Academy of Film & Television Arts, for "The Servant" and "Darling" in 1964 and 1966, respectively. He was also nominated in 1962 for "Victim," in 1968 for "Accident" and Our Mother's House (1967) and in 1972 for "Morte a Venezia."
Bogarde suffered a stroke in 1996, and though it rendered him partially paralyzed, he was able to recover and live in his own flat in Chelsea. However, by May of 1998 he required around-the-clock nursing care, and he had his lawyers draw up a "living will," also known as a no-resuscitation order. Bogarde publicly came out in favor of voluntary euthanasia, becoming Vice President of the Voluntary Euthanasia Society. He publicly addressed the subject of his own "living will," which ordered that no extraordinary measures be taken to keep him alive should he become terminally ill.
The living will proved unnecessary. Dirk Bogarde died of a heart attack on May 8, 1999, in his home in Chelsea, London, England. According to his nephew Brock Van den Bogaerde, the family planned to hold a private funeral but no memorial service in accordance with his uncle's wish "just to forget me." Bogarde wanted to be cremated and have his ashes scattered in France, and accordingly, his remains were returned to Provence.
Margaret Hinxman, in her May 10, 1999, obituary in "The Guardian", said of him, "At his peak and with directors he trusted - Joseph Losey, Luchino Visconti and Alain Resnais - Dirk Bogarde . . . was probably the finest, most complete, actor on the screen."
Clive Fisher's obituary in "The Independent" on May 10, 1999, praised Bogarde as "a major figure because, wherever they were made, his finest films are all somehow about him. He was a great self-portraitist and the screen persona he fashioned, a stylization of his private being, not only dominated its surroundings but spoke subliminally and powerfully to British audiences about the tensions of the time, about connivances and cruel respectabilities of England in the Fifties and Sixties."
The secret of Dirk Bogarde's success as a great cinema actor was his intimate relationship with the camera. Bogarde believed that the key to acting on film was the eyes, specifically, the "look" of the actor. Like Alan Ladd, it didn't matter if an actor was good with line readings if they had mastery over the "look." For many critics and movie-goers at the end of the 20th century, Dirk Bogarde's face epitomized the "look" of Britain in the tumultuous decades after the Second World War.
David Tindle's portrait of Bogarde is part of the collection of London's National Portrait Gallery, London. In 1999, the portrait, on temporary loan, was displayed at 10 Downing Street, the Prime Minister's official residence, with other modern works of art. Officially, Dirk Bogarde had become the look of Britain.- Actor
- Writer
- Director
Erland Josephson, the distinguished Swedish actor best known for his appearance in Ingmar Bergman's films, was born in Stockholm, Sweden on June 15, 1923. Josephson's relationship with Bergman, a long-time friend, began in the late 1930s when they first worked together in the theater.
Although he was in several motion pictures in the late 1940s and early '50s, including a bit part in Bergman's "The Man With an Umbrella" (1946), Josephson confined himself to the stage during the first part of his career. After appearing in Bergman's "The Magician" (1958) in support of Max von Sydow, Josephson did not make another movie until the late '60s, when he was cast in Bergman's "Hour of the Wolf" (1968). He collaborated on two screenplays with Bergman (using the joint pseudonym of Buntel Eriksson), Alf Kjellin's "The Pleasure Garden" (1961) and Bergman's own "Now About These Women" (1964).
In 1966, Josepheson succeeded Bergman as creative director of the Royal Dramatic Theatre in Stockholm, a post he held until 1975. He also succeeded Max Von Sydow as Bergman's favorite male lead in the 1970s, which brought him global fame. After co-starring with Von Sydow and Liv Ullmann in "The Passion of Anna" (1969), he had major roles in "The Touch" (1971), "Cries and Whispers" (1972), "Scenes From a Marriage" (a television mini-series edited into a film in 1973), and "Face to Face" (1976).
François Truffaut, in his guise as a film critic, wrote in 1958: "Bergman's preeminent strength is the direction he gives his actors. He entrusts the principal roles in his films to the five or six actors he loves best, never type-casting them. They are completely different from one film to the next, often playing diametrically opposite roles." In Bergman's films of the 1970s, Erland Josephson engendered the neurotic, post-war 20th century man: aloof, introspective, and self-centered.
Josephson also appeared in Bergman's "Autumn Sonata" (1978), "Fanny and Alexander" (1982) and "After the Rehearsal" (1984). After starring in "Trolösa" (2000), a film directed by frequent co-star Liv Ullmann and scripted by Bergman, it was time for him to be reunited with Ullmann as an actress under the hand of the maestro himself with "Saraband" (2003).
Josephson did not appear in a non-Swedish film until 1977, when he starred as Friedrich Nietzsche in Italian director Liliana Cavani's "Beyond Good and Evil." He continued to work in international cinema in the 1980s and '90s, appearing in Franco Brusati's "To Forget Venice (1980), Dusan Makavejev's "Montenegro" (1981), Philip Kaufman's "The Unbearable Lightness of Being" (1988), István Szabó's "Hanussen" (1988), and Peter Greenaway's "Prospero's Books" (1991). His most memorable non-Bergman roles were in the films of Andrei Tarkovsky, "Nostalghia" (1983) and "The Sacrifice" (1986).
Behind the camera, Josephson co-directed "One and One", a 1978 full-length film, with fellow Bergman collaborators Ingrid Thulin and Sven Nykvist, and directed the full-length "Marmalade Revolution" (1980). Erland Josephson also is an accomplished writer: He has written screenplays for Swedish films, as well as dramas, novels, and poetry.- Actor
- Producer
- Additional Crew
This remarkable, soft-spoken American began in films as a diffident juvenile. With passing years, he matured into a star character actor who exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He was born in Grand Island, Hall, Nebraska, the son of Herberta Elma (Jaynes) and William Brace Fonda, who was a commercial printer, and proprietor of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country and moved to Holland, presumably because of political or religious persecution. In the mid-1600s, they crossed the Atlantic and settled in upstate New York where they founded a community with the Fonda name.
Growing up, Henry developed an early interest in journalism after having a story published in a local newspaper. At the age of twelve, he helped in his father's printing business for $2 a week. Following graduation from high school in 1923, he got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. As it became difficult to juggle his working hours with his academic roster, he obtained another position as a physical education instructor at $30 a week, including room and board. By this time, he had grown to a height of six foot one and was a natural for basketball.
In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. Then, despite opposition from his parents, Henry accepted an offer from Gregory Foley, director of the Omaha Playhouse, to play the title role in 'Merton of the Movies'. His father would not speak to him for a month. The play and its star received fairly good notices in the local press. It ran for a week, after which Henry observed "the idea of being Merton and not myself taught me that I could hide behind a mask". For the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway.
In 1928, he headed east and briefly played in summer stock before joining the University Players, a group of talented Princeton and Harvard graduates among whose number were such future luminaries as James Stewart (who would remain his closest lifelong friend), Joshua Logan and Kent Smith. Before long, Henry played leads opposite Margaret Sullavan, soon to become the first of his five wives. Both marriage and the players broke up four years later. In 1932, Henry found himself sharing a two-room New York apartment with Jimmy Stewart and Joshua Logan. For the next two years, he alternated scenic design with acting at various repertory companies. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely.
It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western The Trail of the Lonesome Pine (1936), the gritty Depression-era drama You Only Live Once (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy The Moon's Our Home (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama Jezebel (1938) and the equally superb Young Mr. Lincoln (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) and The Grapes of Wrath (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in My Darling Clementine (1946)), a reluctant posse member (The Ox-Bow Incident (1942), a juror committed to the ideal of total justice in (12 Angry Men (1957)) or a nightclub musician wrongly accused of murder (The Wrong Man (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of The Return of Frank James (1940), a rare example of a sequel improving upon the original.
Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in The Mad Miss Manton (1938) and The Lady Eve (1941). He was also good value as a poker-playing grifter in the western comedy A Big Hand for the Little Lady (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Once Upon a Time in the West (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in On Golden Pond (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.- Actor
- Director
- Second Unit Director or Assistant Director
Börje Ahlstedt was born on 21 February 1939 in Stockholm, Stockholms län, Sweden. He is an actor and director, known for Ronia: The Robber's Daughter (1984), Fanny and Alexander (1982) and Kaninmannen (1990). He has been married to Birgitta Hermann since 1965.- Actor
- Producer
- Writer
Jon Voight is an American actor of German and Slovak descent. He has won the Academy Award for Best Actor in a Leading Role for his role as paraplegic Vietnam War veteran Luke Martin in the war film "Coming Home" (1978). He has also been nominated for the same award other two times. He was first nominated for his role as aspiring gigolo Joe Buck in "Midnight Cowboy" (1969), He was last nominated for the award for his role as escaped convict Oscar "Manny" Manheim in "Runaway Train" (1985). He was also nominated for the Academy Award for Best Actor in a Supporting Role, for his role as sports journalist Howard Cosell (1918-1995) in "Ali" (2001).
In 1938, Voight was born in Yonkers, New York. His parents were professional golfer Elmer Samuel Voight (original name Elemír Vojtka) and his wife Barbara Agnes (Kamp). His paternal grandfather was a Slovak immigrant, as were the parents of his paternal grandmother. His maternal grandfather was a German immigrant, as were the parents of his maternal grandmother. His maternal great-uncle was political activist Joseph P. Kamp (1900-1993), a leader of the anti-communist organization "Constitutional Educational League".
Voight has two siblings: volcanologist Barry Voight (1937-) and singer-songwriter James Wesley Voight (pseudonym Chip Taylor, 1940-). Barry is most famous for first predicting and then investigating the eruption of Mount St. Helens (1980). James is most famous for writing the hit songs "Wild Thing" (1965) and "Angel of the Morning" (1967).
Voight was educated at Archbishop Stepinac High School, an all-boys Roman Catholic high school located at White Plains, New York. At the time, the school was operated by the Roman Catholic Archdiocese of New York. He took an interest in acting in his high school years, performing a comedic role in the school's annual musical, "The Song of Norway". He graduated in 1956, at the age of 18.
Voight continued his education at The Catholic University of America, located in Washington, D.C.. He majored in art, and graduated in 1960. He was 22-years-old at the time of graduation. He then moved to New York City, having decided to pursue an acting career.
In the early 1960s, Voight primarily worked as a television actor. He guest starred in episodes of then-popular television series, such as "Naked City", "The Defenders", "NET Playhouse", "12 O'Clock High", and "Gunsmoke". His first notable theatrical role was playing the illegal immigrant Rodolfo in a 1965 Off-Broadway production of the play "A View from the Bridge" (1955) by Arthur Miller (1915-2005). In the play, Rodolfo is the love interest of the American girl Catherine, and disliked by her uncle and guardian Eddie Carbone (who is in love with his niece).
Voight made his film debut in the superhero comedy "Fearless Frank" (1967), playing the role of the eponymous superhero. Frank was depicted as a murder victim who gets resurrected and granted superpowers by a scientist. Voiight's second film role was playing historical gunman and outlaw Curly Bill Brocius (1845-1882) in the Western film "Hour of the Gun" (1967). The historical Brocius was an an enemy of the Esrp family, and was killed by Wyatt Earp (1848-1929).
Voigh't third film appearance was "Midnight Cowboy" (1969), his first great success. He played the role of a naive hustler from Texas who tries to become a gigolo in New York City. The film was critically acclaimed, and became the only X-rated feature to win Best Picture at the Academy Awards. Voight was nominated for the Academy Award for Best Actor, but the award was instead won by rival actor John Wayne (1907-1979).
Voight's first role in the 1970s was playing lieutenant Milo Minderbinder in the black comedy "Catch-22" (1970). The film was based on a 1961 satirical novel by Joseph Heller (1923-1999), and offered a satirical view on war and bureaucracy. Voight's next role was playing the left-wing student A in the political drama "The Revolutionary" (1970).
Voight found further critical acclaim with the thriller film "Deliverance" (1972), playing Atlanta businessman Ed Gentry. In the film, Gentry and his first are targeted by villainous mountain men in the northern Georgia wilderness. The film earned about 46 million dollars at the domestic box office, and was nominated for the Academy Award for Best Picture.
His subsequent roles included idealistic schoolteacher Pat Conroy in "Conrack" (1974), journalist Peter Miller in "The Odessa File" (1974). His next great success was playing paraplegic war veteran Luke Martin in "Coming Home" (1978), in a role inspired by the life of war veteran and anti-war activist Ron Kovic (1976-). He won the Academy Award for Best Actor for this film. His co-star Jane Fonda (1937-) won her second Academy Award for Best Actress for her role in this film.
Voight's early 1980s roles included conman Alex Kovac in "Lookin' to Get Out" (1982) and widowed father J. P. Tannen in "Table for Five" (1983). His next big success was the role of escaped convict Oscar "Manny" Manheim in "Runaway Train" (1985). He was again nominated for the Academy Award for Best Actor, but the Award was instead won by rival actor William Hurt (1950-).
Voight's next role was that of Jack Chismore in the drama film "Desert Bloom" (1986). Chismore is depicted as a war veteran suffering from post-traumatic stress disorder (PTSD), who is trying to raise three stepdaughters. He frequently abuses his stepdaughter Rose Chismore (played by Annabeth Gish), but is genuinely concerned for her safety when Rose runs away from home. This film was Voigh's last film role for several years, as he took a hiatus from acting.
Voight returned to acting with the drama film "Eternity" (1990), where he was also the screenwriter. The film deals with reincarnation, as a medieval war within brothers continues in modern American politics. Following his return to acting, Voight started appearing frequently in television films and miniseries. He also guest-starred in a 1994 episode of "Seinfeld", playing himself.
Voight returned to film acting with the crime drama "Heat" (1995), where he had a minor role as a fence. He had a more substantial role in the spy film "Mission: Impossible" (1996), where he played spymaster James Phelps. The film was an adaptation of the popular television series "Mission: Impossible" (1966-1973), about the adventures of a group of secret agents. The role of James Phelps was previously played by actor Peter Graves (1926-2010). The film was a great commercial success, earning about 458 million dollars at the worldwide box office.
Voight appeared in six different films in 1997, one of the busiest years of his career. The most notable among them was the horror film "Anaconda" (1997), where he played obsessive hunter Paul Serone, the film's main antagonist. The film won about 137 million dollars at the box office, despite a mostly negative critical reception. For this role, Voight was nominated for the Golden Raspberry Award for Worst Actor. He lost the award to rival actor Kevin Costner (1955-).
His next notable role was that Thomas Brian Reynolds, agent of the National Security Agency (NSA) in the action thriller "Enemy of the State" (1998). In the film, the NSA conspires to expand the surveillance powers of intelligence agencies over individuals and groups, at the cost of American citizens' right to privacy. The film was another box office success in Voight's career, earning about 251 million dollars at the box office.
In the same year, Voight played inspector Ned Kenny in the crime film "The General" (1998). The film was loosely based on the career of Irish crime boss Martin Cahill (1949-1994), who was nicknamed "the General". The film was critically acclaimed and director John Boorman won the Cannes Film Festival Award for Best Director.
Voight's next notable role was that of domineering coach Bud Kilmer in the sports film "Varsity Blues" (1999). The film dealt with the difficulties in the life of the players of a Texas-based high school football team, and was not expected to attract much attention by audiences. It earned about 54 million dollars at the box office, making it a modest box office hit. It is credited with introducing Voight to a next generation of fans.
Voight's final film in the 1990s was "A Dog of Flanders" (1999), based on a 1872 novel by Ouida (1839-1908). He played the role of artist Michel La Grande, the mentor of Nello (played by Jeremy James Kissner), who is eventually revealed to be Nello's biological father. The film failed at the box office, failing to earn as much as its modest budget.
Voight appeared in no film released in 2000, but had a busy year in 2001. He appeared in several box office hits of the year. He played President of the United States Franklin Delano Roosevelt (1882-1945, term 1933-1945) in the war drama "Pearl Harbor", Lara Croft's father Lord Richard Croft in the action film "Lara Croft: Tomb Raider", coal-miner and working class father Larry Zoolander in action comedy "Zoolander", and sports journalist Howard Cosell in the biographical film "Ali". For his role in "Ali", Voight was nominated for the Academy Award for Best Supporting Actor. The award was instead won by rival actor Jim Broadbent (1949-). It was Voight's fourth and (so far) last nomination for an Academy Award.
Voight had a notable role playing Pope John Paul II (1920-2005, term 1978-2005) in the miniseries "Pope John Paul II" (2005). He was nominated for the Primetime Emmy Award for Outstanding Lead Actor in a Limited Series or Movie, but the award was instead won by rival actor Andre Braugher (1962-).
Voight had a supporting role as John Keller, United States Secretary of Defense in the science fiction film "Transformers" (2007). The film was based on the Transformers toy line by Hasbro.It earned about 710 million dollars at the box office, one of the most commercially successful films in Voight's career.
In 2009, Voight had a notable television role, playing Jonas Hodges, the CEO of a Virginia-based private military company in the then-popular television series "24" (2001-2010, 2014). He was a main antagonist in the seventh season of the series. His role was inspired by the careers of Hessian colonel Johann Rall (c. 1726-1776), German industrialist Alfried Krupp von Bohlen und Halbach (1907-1967), and private military company CEO Erik Prince (1969-).
His 2010s notable film roles include the role of Dracula's enemy Loonardo Van Helsing in the horror film "Dracula: The Dark Prince" (2013), football coach Paul William "Bear" Bryant (1913-1983) in the sports drama "Woodlawn" (2015), and newspaper owner Henry Shaw Sr. in "Fantastic Beasts and Where to Find Them" (2016). "Fantastic Beasts" earned about 814 million dollars at the worldwide box office, being one of the most commercially successful films that Voight ever appeared in.
In 2020, was 82-years-old, and he is still working as an actor.- Sound Department
- Actor
- Camera and Electrical Department
Eddie Axberg was born on 9 July 1947 in Stockholm, Sweden. He is an actor, known for The Emigrants (1971), The New Land (1972) and The Queen of Sheba's Pearls (2004).- Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Actor
- Producer
- Director
One of the greatest actors of all time, Robert De Niro was born on August 17, 1943 in Manhattan, New York City, to artists Virginia (Admiral) and Robert De Niro Sr. His paternal grandfather was of Italian descent, and his other ancestry is Irish, English, Dutch, German, and French. He was trained at the Stella Adler Conservatory and the American Workshop. De Niro first gained fame for his role in Bang the Drum Slowly (1973), but he gained his reputation as a volatile actor in Mean Streets (1973), which was his first film with director Martin Scorsese. He received an Academy Award for Best Supporting Actor for his role in The Godfather Part II (1974) and received Academy Award nominations for best actor in Taxi Driver (1976), The Deer Hunter (1978) and Cape Fear (1991). He received the Academy Award for Best Actor for his role as Jake LaMotta in Raging Bull (1980).
De Niro has earned four Golden Globe Award nominations for Best Actor - Motion Picture Musical or Comedy, for his work in New York, New York (1977), opposite Liza Minnelli, Midnight Run (1988), Analyze This (1999) and Meet the Parents (2000). Other notable performances include Brazil (1985), The Untouchables (1987), Backdraft (1991), Frankenstein (1994), Heat (1995), Casino (1995) and Jackie Brown (1997). At the same time, he also directed and starred in such films as A Bronx Tale (1993) and The Good Shepherd (2006). De Niro has also received the AFI Lifetime Achievement Award in 2003 and the Golden Globe Cecil B. DeMille Award in 2010.
As of 2022, De Niro is 79-years-old. He has never retired from acting, and continues to work regularly in mostly film.- Actor
- Producer
- Director
Dustin Lee Hoffman was born in Los Angeles, California, to Lillian (Gold) and Harry Hoffman, who was a furniture salesman and prop supervisor for Columbia Pictures. He was raised in a Jewish family (from Ukraine, Russia-Poland, and Romania). Hoffman graduated from Los Angeles High School in 1955, and went to Santa Monica City College, where he dropped out after a year due to bad grades. But before he did, he took an acting course because he was told that "nobody flunks acting." Also received some training at Los Angeles Conservatory of Music. Decided to go into acting because he did not want to work or go into the service. Trained at The Pasadena Playhouse for two years.- Anders Ek was born on 7 April 1916 in Gothenburg, Västra Götalands län, Sweden. He was an actor, known for The Seventh Seal (1957), Cries & Whispers (1972) and Sawdust and Tinsel (1953). He was married to Ingrid Andreasson, Kerstin Larsson and Birgit Cullberg. He died on 17 November 1979 in Stockholm, Stockholms län, Sweden.
- Actor
- Additional Crew
Jan Blomberg was born on 6 October 1934 in Bromma, Stockholm, Stockholms län, Sweden. He was an actor, known for Selambs (1979), Nya Dagbladet (1985) and Kråsnålen (1988). He died on 8 May 1997 in Stockholm, Stockholms län, Sweden.- Actor
- Director
- Additional Crew
Jared Francis Harris was born in London, England. He is the son of Irish actor Richard Harris and Welsh actress Elizabeth Harris (Elizabeth Rees), and brother of Damian Harris and Jamie Harris. Despite his lineage, Jared showed little interest in becoming an actor, until he was cast in a college production while attending North Carolina's Duke University (USA), where he studied drama and literature, in the early 1980s.
After graduation, Jared returned to the UK where he attended Central School of Speech and Drama and then joined the Royal Shakespeare Company, performing in Mark Rylance's "Hamlet", "Romeo & Juliet", "The Silent Woman" and "A Clockwork Orange". In 1989, he had his screen debut in The Rachel Papers (1989).
In 1990, while on vacation in New York, Jared auditioned for the role of Hotspur in "Henry IV, Part 1", which he played at the New York Shakespeare Festival following his brilliant course as an excellent theater artist in the off-Broadway play "Ecstasy", for which he was honored with an Obie Award in 1992.
Widely regarded as the one of greatest stage and screen actors both in his native Great Britain and internationally, from his breakthrough role as Andy Warhol in I Shot Andy Warhol (1996) and VH1's Two of Us (2000) where he portrayed John Lennon to Sherlock Holmes: A Game of Shadows (2011) and Lincoln (2012), Jared Harris expressed his unparalleled qualities as a sublime "chameleon" in a wide range of roles full of profoundness, intelligence and insights through his praised performances, among others, in The Last of the Mohicans (1992), Natural Born Killers (1994), Smoke (1995), Happiness (1998), How to Kill Your Neighbor's Dog (2000), Igby Goes Down (2002), B. Monkey (1998), Shadow Magic (2000), Mr. Deeds (2002), Resident Evil: Apocalypse (2004) and The Curious Case of Benjamin Button (2008).
His tour-de-force mesmerizing, staggering and fascinating interpretations of substantial mastery, subtlety, charisma and generosity also include some of his finest precious gems on TV such as in The Other Boleyn Girl (2003), The Riches (2007), Fringe (2008), Mad Men (2007), The Crown (2016), The Terror (2018) and Chernobyl (2019).
Jared is married to Allegra Riggio, lauded intelligent lighting designer and accidental comedian.- Actor
- Writer
- Director
Balding, quietly spoken, of slight build and possessed of piercing blue eyes -- often peering out from behind round, steel-rimmed glasses -- Donald Pleasence had the essential physical attributes which make a great screen villain. In the course of his lengthy career, he relished playing the obsessed, the paranoid and the purely evil. Even the Van Helsing-like psychiatrist Sam Loomis in the Halloween (1978) franchise seems only marginally more balanced than his prey. An actor of great intensity, Pleasence excelled on stage as Shakespearean villains. He was an unrelenting prosecutor in Jean Anouilh's "Poor Bitos" and made his theatrical reputation in the title role of the seedy, scheming tramp in Harold Pinter's "The Caretaker" (1960). On screen, he gave a perfectly plausible interpretation of the head of the SS, Heinrich Himmler, in The Eagle Has Landed (1976). He was a convincingly devious Thomas Cromwell in Henry VIII and His Six Wives (1972), disturbing in his portrayal of the crazed, bloodthirsty preacher Quint in Will Penny (1967); and as sexually depraved, alcohol-sodden 'Doc' Tydon in the brilliant Aussie outback drama Wake in Fright (1971). And, of course, he was Ernst Stavro Blofeld in You Only Live Twice (1967). These are some of the films, for which we may remember Pleasence, but there was a great deal more to this fabulous, multi-faceted actor.
Donald Henry Pleasence was born on October 5, 1919 in Worksop, Nottinghamshire, England, to Alice (Armitage) and Thomas Stanley Pleasence. His family worked on the railway. His grandfather had been a signal man and both his brother and father were station masters. When Donald failed to get a scholarship at RADA, he joined the family occupation working as a clerk at his father's station before becoming station master at Swinton, Yorkshire. While there, he wrote letters to theatre companies, eventually being accepted by one on the island of Jersey in Spring 1939 as an assistant stage manager. On the eve of World War II, he made his theatrical debut in "Wuthering Heights". In 1942, he played Curio in "Twelfth Night", but his career was then interrupted by military service in the RAF. He was shot down over France, incarcerated and tortured in a German POW camp. Once repatriated, Donald returned to the stage in Peter Brook's 1946 London production of "The Brothers Karamazov" with Alec Guinness although he missed the opening due to measles, followed by a stint on Broadway with Laurence Olivier's touring company in "Caesar and Cleopatra" and "Anthony and Cleopatra". Upon his return to England, he won critical plaudits for his performance in "Hobson's Choice". In 1952, Donald began his screen career, rather unobtrusively, in small parts. He was only really noticed once having found his métier as dastardly, sneaky Prince John in The Adventures of Robin Hood (1955). It took several more years, until international recognition came his way: first, through the filmed adaptation of The Guest (1963), and, secondly, with his blind forger in The Great Escape (1963), a role he imbued with added conviction due to his own wartime experience.
Some of his best acting Donald reserved for the small screen. In 1962, the producer of The Twilight Zone (1959), Buck Houghton, brought Donald to the United States ("damn the expense"!) to guest star in the third-season episode "The Changing of the Guard". He was given a mere five days to immerse himself in the part of a gentle school teacher, Professor Ellis Fowler, who, on the eve of Christmas is forcibly retired after fifty-one years of teaching. Devastated, and believing himself a failure who has made no mark on the world, he is about to commit suicide when the school's bell summons him to his classroom. There, he is confronted by the spirits of deceased students who beg him to consider that his lessons have indeed had fundamental effects on their lives, even leading to acts of great heroism. Upon hearing this, Fowler is now content to graciously accept his retirement. Managing to avoid maudlin sentimentality, Donald's performance was intuitive and, arguably, one of the most poignant ever accomplished in a thirty-minute television episode. Once again, against type, he was equally delightful as the mild-mannered Reverend Septimus Harding in Anthony Trollope's The Barchester Chronicles (1982).
Whether eccentric, sinister or given to pathos, Donald Pleasence was always great value for money and his performances have rarely failed to engage.- Actor
- Writer
- Director
Allan Edwall was born in a working class home in Jämtland, Sweden in 1924. His father was a trade-union man and a communist. 1949-52 he attended Stockholm's Royal Daramatic Theatre School. Through the years he made more than 400 parts in theater, film, television and radio. He was also a director, an author, a composer and a singer. On records he sang his own songs where he attacked the injustices in our society. From 1986 and for the remaining years he ran his own theater 'Brunnsgatan 4' in Stockholm, where he did everything by himself, from acting to selling tickets.- Actor
- Writer
Jack MacGowran was an Irish actor, probably best known for his work with Samuel Beckett.
He established his professional reputation as a member of the Abbey Players in Dublin, while he achieved stage renown for his knowing interpretations of the works of Samuel Beckett. He appeared as Lucky in Waiting For Godot at the Royal Court Theatre, and with the Royal Shakespeare Company in Endgame at the Aldwych Theatre. He released an LP record, MacGowran Speaking Beckett, to coincide with Samuel Beckett's 60th birthday in 1966, and won the 1970-71 Obie for Best Performance By an Actor in the off-Broadway play MacGowran in the works of Beckett.
He also specialized in the work of Seán O'Casey, creating the role of Joxer in the Broadway musical Juno in 1959, based with O'Casey's 1924 play about the Troubles, Juno and the Paycock. He played O'Casey's brother Archie in Young Cassidy (1965), one of John Ford's last films.
In 1954 he moved to London, subsequently becoming a member of the Royal Shakespeare Company. There he struck up a lasting friendship with Peter O'Toole, with whom he later appeared in Richard Brooks' Lord Jim (1965).
MacGowran played the title role of "Gandhi" in the Broadway play written by Gurney Campbell in 1971, directed by Jose Quintero.
MacGowran's film career started in Ireland with the film No Resting Place (1951), and many of his earlier films were set in Ireland. Notably The Quiet Man (1952), The Gentle Gunman (1952), Rooney (1958) and Darby O'Gill and the Little People (1959). His last film was The Exorcist (1973), where he played Burke Dennings, an alcoholic director and Regan's first victim.- Actor
- Writer
- Director
Often credited as the greatest comedian of all time, Peter Sellers was born Richard Henry Sellers to a well-off acting family in 1925 in Southsea, a suburb of Portsmouth. He was the son of Agnes Doreen "Peg" (Marks) and William "Bill" Sellers. His parents worked in an acting company run by his grandmother. His father was Protestant and his mother was Jewish (of both Ashkenazi and Sephardi background). His parents' first child had died at birth, so Sellers was spoiled during his early years. He enlisted in the Royal Air Force and served during World War II. After the war he met Spike Milligan, Harry Secombe and Michael Bentine, who would become his future workmates.
After the war, he set up a review in London, which was a combination of music (he played the drums) and impressions. Then, all of a sudden, he burst into prominence as the voices of numerous favorites on the BBC radio program "The Goon Show" (1951-1960), and then making his debut in films in Penny Points to Paradise (1951) and Down Among the Z Men (1952), before making it big as one of the criminals in The Ladykillers (1955). These small but showy roles continued throughout the 1950s, but he got his first big break playing the dogmatic union man, Fred Kite, in I'm All Right Jack (1959). The film's success led to starring vehicles into the 1960s that showed off his extreme comic ability to its fullest. In 1962, Sellers was cast in the role of Clare Quilty in the Stanley Kubrick version of the film Lolita (1962) in which his performance as a mentally unbalanced TV writer with multiple personalities landed him another part in Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) in which he played three roles which showed off his comic talent in play-acting in three different accents; British, American, and German.
The year 1964 represented a peak in his career with four films in release, all of them well-received by critics and the public alike: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), for which he was Oscar nominated, The Pink Panther (1963), in which he played his signature role of the bumbling French Inspector Jacques Clouseau for the first time, its almost accidental sequel, A Shot in the Dark (1964), and The World of Henry Orient (1964). Sellers was on top of the world, but on the evening of April 5, 1964, he suffered a nearly fatal heart attack after inhaling several amyl nitrites (also called 'poppers'; an aphrodisiac-halogen combination) while engaged in a sexual act with his second wife Britt Ekland. He had been working on Billy Wilder's Kiss Me, Stupid (1964). In a move Wilder later regretted, he replaced Sellers with Ray Walston rather than hold up production. By October 1964, Sellers made a full recovery and was working again.
The mid-1960s were noted for the popularity of all things British, from the Beatles music (who were presented with their Grammy for Best New Artist by Sellers) to the James Bond films, and the world turned to Sellers for comedy. What's New Pussycat (1965) was another big hit, but a combination of his ego and insecurity was making Sellers difficult to work with. When the James Bond spoof Casino Royale (1967) ran over budget and was unable to recoup its costs despite an otherwise healthy box-office take, Sellers received some of the blame. He turned down an offer from United Artists for the title role in Inspector Clouseau (1968), but was angry when the production went ahead with Alan Arkin in his place. His difficult reputation and increasingly erratic behavior, combined with several less successful films, took a toll on his standing. By 1970, he had fallen out of favor. He spent the early years of the new decade appearing in such lackluster B films as Where Does It Hurt? (1972) and turning up more frequently on television as a guest on The Dean Martin Show (1965) and a Glen Campbell TV special.
In 1974, Inspector Clouseau came to Sellers rescue when Sir Lew Grade expressed an interest in a TV series based on the character. Clouseau's creator, writer-director Blake Edwards, whose career had also seen better days, convinced Grade to bankroll a feature film instead, and The Return of the Pink Panther (1975) was a major hit release during the summer of Jaws (1975) and restored both men to prominence. Sellers would play Clouseau in two more successful sequels, The Pink Panther Strikes Again (1976) and Revenge of the Pink Panther (1978), and Sellers would use his newly rediscovered clout to realize his dream of playing Chauncey Gardiner in a film adaptation of Jerzy Kosinski's novel "Being There". Sellers had read the novel in 1972, but it took seven years for the film to reach the screen. Being There (1979) earned Sellers his second Oscar nomination, but he lost to Dustin Hoffman for Kramer vs. Kramer (1979).
Sellers struggled with depression and mental insecurities throughout his life. An enigmatic figure, he often claimed to have no identity outside the roles that he played. His behavior on and off the set and stage became more erratic and compulsive, and he continued to frequently clash with his directors and co-stars, especially in the mid-1970s when his physical and mental health, together with his continuing alcohol and drug problems, were at their worst. He never fully recovered from his 1964 heart attack because he refused to take traditional heart medication and instead consulted with 'psychic healers'. As a result, his heart condition continued to slowly deteriorate over the next 16 years. On March 20, 1977, Sellers barely survived another major heart attack and had a pacemaker surgically implanted to regulate his heartbeat which caused him further mental and physical discomfort. However, he refused to slow down his work schedule or consider heart surgery which might have extended his life by several years.
On July 25, 1980, Sellers was scheduled to have a reunion dinner in London with his Goon Show partners, Spike Milligan and Harry Secombe. However, at around 12 noon on July 22, Sellers collapsed from a massive heart attack in his Dorchester Hotel room and fell into a coma. He died in a London hospital just after midnight on July 24, 1980 at age 54. He was survived by his fourth wife, Lynne Frederick, and three children: Michael, Sarah and Victoria. At the time of his death, he was scheduled to undergo an angiography in Los Angeles on July 30 to see if he was eligible for heart surgery.
His last movie, The Fiendish Plot of Dr. Fu Manchu (1980), completed just a few months before his death, proved to be another box office flop. Director Blake Edwards' attempt at reviving the Pink Panther series after Sellers' death resulted in two panned 1980s comedies, the first of which, Trail of the Pink Panther (1982), deals with Inspector Clouseau's disappearance and was made from material cut from previous Pink Panther films and includes interviews with the original casts playing their original characters.- Actor
- Producer
- Additional Crew
Michael Caine was born as Maurice Joseph Micklewhite in London, to Ellen (née Burchell), a cook, and Maurice Micklewhite Sr., a fish-market porter. He had a younger brother, Stanley Caine, and an older maternal half-brother named David Burchell. He left school at age 15 and took a series of working-class jobs before joining the British army and serving in Korea during the Korean War, where he saw combat. Upon his return to England, he gravitated toward the theater and got a job as an assistant stage manager. He adopted the name of Caine on the advice of his agent, taking it from a marquee that advertised The Caine Mutiny (1954). In the years that followed, he worked in more than 100 television dramas, with repertory companies throughout England and eventually in the stage hit "The Long and the Short and the Tall".
Zulu (1964), the epic retelling of a historic 19th-century battle in South Africa between British soldiers and Zulu warriors, brought Caine to international attention. Instead of being typecast as a low-ranking Cockney soldier, he played a snobbish, aristocratic officer. Although "Zulu" was a major success, it was the role of Harry Palmer in The Ipcress File (1965) and the title role in Alfie (1966) that made Caine a star of the first magnitude. He epitomized the new breed of actor in mid-1960s England, the working-class bloke with glasses and a down-home accent. However, after initially starring in some excellent films, particularly in the 1960s, including Gambit (1966), Funeral in Berlin (1966), Play Dirty (1969), Battle of Britain (1969), Too Late the Hero (1970), The Last Valley (1971) and especially Get Carter (1971), he seemed to take on roles in below-average films, simply for the money he could by then command.
However, there were some gems amongst the dross. He gave a magnificent performance opposite Sean Connery in The Man Who Would Be King (1975) and turned in a solid one as a German colonel in The Eagle Has Landed (1976). Educating Rita (1983), Blame It on Rio (1984) and Hannah and Her Sisters (1986) (for which he won his first Oscar) were highlights of the 1980s, while more recently Little Voice (1998), The Cider House Rules (1999) (his second Oscar) and Last Orders (2001) have been widely acclaimed. Caine played Nigel Powers in the parody sequel Austin Powers in Goldmember (2002), and Alfred Pennyworth in Christopher Nolan's Dark Knight trilogy. He appeared in several other of Nolan's films including The Prestige (2006), Inception (2010) and Interstellar (2014). He also appeared as a supporting character in Alfonso Cuarón's Children of Men (2006) and Pixar's sequel Cars 2 (2011).
As of 2015, films in which Caine has starred have grossed over $7.4 billion worldwide. He is ranked the ninth highest grossing box office star. Caine is one of several actors nominated for an Academy Award for acting every decade from five consecutive decades (the other being Laurence Olivier and Meryl Streep). He was appointed Commander of the Order of the British Empire in the 1992 Birthday Honours, and was knighted by Queen Elizabeth II in the 2000 Birthday Honours in recognition for his contributions to the cinema.
Caine has been married twice. First to actress Patricia Haines from 1954 to 1958. They had a daughter, Dominique, in 1957. A bachelor for some dozen-plus years after the divorce, he was romantically linked to Edina Ronay (for three years), Nancy Sinatra, Natalie Wood, Candice Bergen, Bianca Jagger, Françoise Pascal and Jill St. John. In 1971 he met his second wife, fashion model Shakira Caine (née Baksh), and they married in 1973, six months before their daughter Natasha was born. The couple has three grandchildren, and in 2023, they celebrated their 50th wedding anniversary.- Actor
- Soundtrack
Jan Malmsjö studied at the Royal Dramatic Theatre's acting school 1950-1953. He made a memorable performance in 'Två åsnor' at Göteborgs stadsteater in 1958, in Åke Falck's TV-show 'Kaskad' in 1962 and in the musicals 'Stoppa världen - jag vill stiga av' at Scalateatern in 1963 and in 'La Cage aux Folles' at Malmö stadsteater in 1985. Among his roles at the Royal Dramatic Theatre the title role in 'Peter Weiss'' 'Hölderin' stand out. His movies have been relatively few, most memorable is his role as Bishop Vergérus in Ingmar Bergman's Fanny and Alexander (1982). With his charisma he can fully control his audience, be it at restaurants, amusement parks or the spoken stage.- Actor
- Director
- Writer
Hadn't it been for his school teacher, who managed to get him money for a theater education, he would probably never had become an actor. After two failed attempts at becoming a student at the Royal Dramatic Theatre's acting school he succeeded at the age of 19. During these years in the beginning of the 1950s he played against Inga Tidblad in the world premiere of 'Eugene O'Neill's 'Long Days Journey Into Night'. 32 years later he was in the same play again, this time directed by Ingmar Bergman. His capacity for work was truly amazing, some years he made several leading roles both in plays and films. He was also successful as Professor Higgins in Alan Jay Lerner's and Frederick Loewe's play 'My Fair Lady' 1959-1961. He became well known to the public with Lars-Magnus Lindgren's Love Mates (1961). During the 1960s he was busy with making movies and he himself directed Bokhandlaren som slutade bada (1969) and Good-Bye Nana (1970). His work with Ingmar Bergman began in 1952 with Secrets of Women (1952), continuing with Smiles of a Summer Night (1955) and with a grand finale in Fanny and Alexander (1982). He returned to the Royal Dramatic Theatre in 1982 and plays like William Shakespeare's 'King Lear', Hjalmar Bergman's 'Markurells i Wadköping' and Molière's 'Tartuffe'.- Actor
- Director
- Writer
Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actor
- Music Department
- Soundtrack
Born in London, England, Daniel Michael Blake Day-Lewis is the second child of Cecil Day-Lewis, Poet Laureate of the U.K., and his second wife, actress Jill Balcon. His maternal grandfather was Sir Michael Balcon, an important figure in the history of British cinema and head of the famous Ealing Studios. His older sister, Tamasin Day-Lewis, is a documentarian. His father was of Northern Irish and English descent, and his mother was Jewish (from a family from Latvia and Poland). Daniel was educated at Sevenoaks School in Kent, which he despised, and the more progressive Bedales in Petersfield, which he adored. He studied acting at the Bristol Old Vic School. Daniel made his film debut in Sunday Bloody Sunday (1971), but then acted on stage with the Bristol Old Vic and Royal Shakespeare Companies and did not appear on screen again until 1982, when he landed his first adult role, a bit part in Gandhi (1982). He also appeared on British television that year in Frost in May (1982) and How Many Miles to Babylon? (1982). Notable theatrical performances include Another Country (1982-83), Dracula (1984) and The Futurists (1986).
His first major supporting role in a feature film was in The Bounty (1984), quickly followed by My Beautiful Laundrette (1985) and A Room with a View (1985). The latter two films opened in New York on the same day, offering audiences and critics evidence of his remarkable range and establishing him as a major talent. The New York Film Critics named him Best Supporting Actor for those performances. In 1986, he appeared on stage in Richard Eyre's "The Futurists" and on television in Eyre's production of The Insurance Man (1986). He also had a small role in a British/French film, Nanou (1986). In 1987, he assumed leading-man status in Philip Kaufman's The Unbearable Lightness of Being (1988), followed by a comedic role in the unsuccessful Stars and Bars (1988). His brilliant performance as Christy Brown in Jim Sheridan's My Left Foot (1989) won him numerous awards, including the Academy Award for Best Actor.
He returned to the stage to work again with Eyre, as Hamlet at the National Theater, but was forced to leave the production close to the end of its run because of exhaustion, and has not appeared on stage since. He took a hiatus from film as well until 1992, when he starred in The Last of the Mohicans (1992), a film that met with mixed reviews but was a great success at the box office. He worked with American director Martin Scorsese in The Age of Innocence (1993), based on Edith Wharton's novel. Subsequently, he teamed again with Jim Sheridan to star in In the Name of the Father (1993), a critically acclaimed performance that earned him another Academy Award nomination. His next project was in the role of John Proctor in father-in-law Arthur Miller's play The Crucible (1996), directed by Nicholas Hytner. He worked with Scorsese again to star in Gangs of New York (2002), another critically acclaimed performance that earned him another Academy Award nomination for Best Actor.
Day-Lewis's wife, Rebecca Miller, offered him the lead role in her film The Ballad of Jack and Rose (2005), in which he played a dying man with regrets over how his wife had evolved and over how he had brought up his teenage daughter. During filming, he arranged to live separate from his wife to achieve the "isolation" needed to focus on his own character's reality. The film received mixed reviews. In 2007, he starred in director Paul Thomas Anderson's loose adaptation of Upton Sinclair's novel "Oil!", titled There Will Be Blood (2007). Day-Lewis received the Academy Award for Best Actor, BAFTA Award for Best Actor in a Leading Role, Golden Globe Award for Best Actor - Motion Picture Drama, Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, and a variety of film critics' circle awards for the role. In 2009, Day-Lewis starred in Rob Marshall's musical adaptation Nine (2009) as film director Guido Contini. He was nominated for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy and the Satellite Award for Best Actor - Motion Picture Musical or Comedy.- Actor
- Producer
- Director
An actor for all seasons and all kinds of roles (from dark, difficult characters to more loving ones) Paul Dano has an extensive body work that includes working with directors such as Paul Thomas Anderson, Steve McQueen, Dayton & Ferris, Ang Lee, Denis Villenueve and Paolo Sorrentino; acting with heavyweights such as Harrison Ford, Daniel Day-Lewis, Alan Arkin, Jake Gyllenhaal, Toni Collette, Michael Caine, Kevin Kline - just to mention a few names; and easily making a fine transition in between independent cinema, art-house films and mainstream Hollywood blockbusters.
Paul Franklin Dano was born on 19 June, 1984 in New York City, the son of Gladys (Pipp) and Paul Dano. He is of Rusyn, Slovenian/Czech, and Swedish descent. At an early age he was already appearing in community plays and by his early teens he got his first TV appearance on an episode of Smart Guy (1998). His first major role was as Howie Blitzer, a trouble teenager who gets involved with an older man, played by Brian Cox, in the controversial and acclaimed L.I.E. (2001). For the role, Dano was awarded an Independent Spirit Award in the Best Debut Performance category, along with some other awards from Indie cinema. From the on, he moved on to supporting roles in The Girl Next Door (2004), Taking Lives (2004), The King (2005), Fast Food Nation (2006) and The Ballad of Jack and Rose (2005).
Dano's rise to stardom came in consecutive films that showcased his talents and made him an important name in the business: as Dwayne, a rebel teen who copes with his teen angst by refusing to speak to everyone in his family, only using of his cold expressions and a notepad in Little Miss Sunshine (2006), he was praised by critics and audiences, a role that earned him among other awards the Screen Actors Guild as Best Ensemble Cast. The following year, he appeared on a dual role as twin brothers Paul and Eli Sunday - the latter character, a devoted preacher, is more extensive and challenging than the mysterious Paul, in Paul Thomas Anderson critically acclaimed There Will Be Blood (2007). The role was given to Dano after a recommendation from Daniel Day-Lewis who had worked with the young actor in The Ballad of Jack and Rose (2005) and found him a very talented and interesting role. Anderson followed Day-Lewis suggestion, and the result was another hit for Dano, who received several awards nominations, including the Bafta as Best Supporting Actor.
After that, he went on with his career with Taking Woodstock (2009), Cowboys & Aliens (2011), Ruby Sparks (2012) - in which he appears alongside his girlfriend Zoe Kazan, Looper (2012), as the tortured suspect in Prisoners (2013); the Oscar winning 12 Years a Slave (2013); as a young Method actor in Youth (2015); the freak comedy Swiss Army Man (2016); Okja (2017); and the miniseries War & Peace (2016) and Escape at Dannemora (2018), the latter being a role completely the opposite he ever played in previous years, as an inmate who escapes jail, a very physical work for him. In between those films and projects, he gained notoriety by playing the young Brian Wilson in Love & Mercy (2014), the Beach Boys leader who suffers a nervous breakdown while trying to compose an epic album. That role gave Paul Dano plenty of buzz during awards season, some deserved recognition and his first Golden Globe nomination in the Best Supporting Actor category.
His career seems to always be going further each year goes by, always promising. He made his directorial debut in Wildlife (2018), which was co-written with Zoe Kazan. They're living together for a decade and have one daughter.
In the 2020's, he provided the voice from a character in the thriller The Guilty (2021) and played the Riddler in the box-office hit The Batman (2022), in one of his most challenging roles. During 2022/2023 awards season he received a lot of praise and attention for his role in the acclaimed The Fabelmans (2022) where he plays a version of Steven Spielberg's father.- Actor
- Writer
- Director
Born 1930 in Piolenc in south France as son of a wealthy industrialist. Studied law in Aix-en-Provence. Started theatrical acting in 1950, but was regarded untalented at first, until Roger Vadim discovered him for the movies. When the press stalked him 1956 because of rumors of an affair with Brigitte Bardot his partner in ...And God Created Woman (1956), he fled into the army. Ten years later he had his first big success with A Man and a Woman (1966). Since then he has starred in more than 100 movies, with a special talent for the dark characters like murderers or jealous husbands. In his late career he preferred theater to movies.- Actor
- Producer
- Director
Jack Lemmon was born in Newton, Massachusetts, to Mildred Lankford Noel and John Uhler Lemmon, Jr., the president of a doughnut company. His ancestry included Irish (from his paternal grandmother) and English. Jack attended Ward Elementary near his Newton, MA home. At age 9 he was sent to Rivers Country Day School, then located in nearby Brookline. After RCDS, he went to high school at Phillips Andover Academy. Jack was a member of the Harvard class of 1947, where he was in Navy ROTC and the Dramatic Club. After service as a Navy ensign, he worked in a beer hall (playing piano), on radio, off Broadway, TV and Broadway. His movie debut was with Judy Holliday in It Should Happen to You (1954). He won Best Supporting Actor as Ensign Pulver in Mister Roberts (1955). He received nominations in comedy (Some Like It Hot (1959), The Apartment (1960)) and drama (Days of Wine and Roses (1962), The China Syndrome (1979), Tribute (1980) and Missing (1982)). He won the Best Actor Oscar for Save the Tiger (1973) and the Cannes Best Actor award for "Syndrome" and "Missing". He made his debut as a director with Kotch (1971) and in 1985 on Broadway in "Long Day's Journey into Night". In 1988 he received the Life Achievement Award of the American Film Institute.- Actor
- Producer
- Writer
The towering presence of Canadian actor Donald Sutherland is often noticed, as are his legendary contributions to cinema. He has appeared in almost 200 different shows and films. He is also the father of renowned actor Kiefer Sutherland, among others.
Donald McNichol Sutherland was born in Saint John, New Brunswick, to Dorothy Isobel (McNichol) and Frederick McLea Sutherland, who worked in sales and electricity. He has Scottish, as well as German and English, ancestry. Sutherland worked several different jobs - he was a radio DJ in his youth - and was almost set on becoming an engineer after graduating from the University of Toronto with a degree in engineering. However, he also graduated with a degree in drama, and he chose to abandon becoming an engineer in favour of an actor.
Sutherland's first roles were bit parts and consisted of such films as the horror film Dr. Terror's House of Horrors (1965) which starred Christopher Lee. He was also appearing in episodes of TV shows such as "The Saint" and "Court Martial". Sutherland's break would come soon, though, and it would come in the form of a war film in which he was barely cast.
The reason he was barely cast was because he had been a last-minute replacement for an actor that had dropped out of the film. The role he played was that of the dopey but loyal Vernon Pinkley in the war film The Dirty Dozen (1967). The film also starred Lee Marvin, Charles Bronson, and Telly Savalas. The picture was an instant success as an action/war film, and Sutherland played upon this success by taking another role in a war film: this was, however, a comedy called M*A*S*H (1970) which landed Sutherland the starring role alongside Elliott Gould and Tom Skerritt. This is now considered a classic among film goers, and the 35-year old actor was only getting warmed up.
Sutherland took a number of other roles in between these two films, such as the theatrical adaptation Oedipus the King (1968), the musical Joanna (1968) and the Clint Eastwood-helmed war comedy Kelly's Heroes (1970). It was Kelly's Heroes (1970) that became more well-known, and it reunited Sutherland with Telly Savalas. 1970 and 1971 offered Sutherland a number of other films, the best of them would have to be Klute (1971). The film, which made Jane Fonda a star, is about a prostitute whose friend is mysteriously murdered. Sutherland received no critical acclaim like his co-star Fonda (she won an Oscar) but his career did not fade.
Moving on from Klute (1971), Sutherland landed roles such as the lead in the thriller Lady Ice (1973), and another lead in the western Alien Thunder (1974). These films did not match up to "Klute"'s success, though Sutherland took a supporting role that would become one of his most infamous and most critically acclaimed. He played the role of the murderous fascist leader in the Bernardo Bertolucci Italian epic 1900 (1976). Sutherland also gained another memorable role as a marijuana-smoking university professor in National Lampoon's Animal House (1978) among other work that he did in this time.
Another classic role came in the form of the Robert Redford film, Ordinary People (1980). Sutherland portrays an older father figure who must deal with his children in an emotional drama of a film. It won Best Picture, and while both the supporting stars were nominated for Oscars, Sutherland once again did not receive any Academy Award nomination. He moved on to play a Nazi spy in a film based on Ken Follett's book "Eye of the Needle" and he would star alongside Al Pacino in the commercial and critical disaster that was Revolution (1985). While it drove Al Pacino out of films for four years, Sutherland continued to find work. This work led to the dramatic, well-told story of apartheid A Dry White Season (1989) alongside the legendary actor Marlon Brando.
Sutherland's next big success came in the Oliver Stone film JFK (1991) where Sutherland plays the chilling role of Mister X, an anonymous source who gives crucial information about the politics surrounding President Kennedy. Once again, he was passed over at the Oscars, though Tommy Lee Jones was nominated for his performance as Clay Shaw. Sutherland went on to appear in Buffy the Vampire Slayer (1992), Shadow of the Wolf (1992), and Disclosure (1994).
The new millennium provided an interesting turn in Sutherland's career: reuniting with such former collaborators as Clint Eastwood and Tommy Lee Jones, Sutherland starred in Space Cowboys (2000). He also appeared as the father figure to Nicole Kidman's character in Cold Mountain (2003) and Charlize Theron's character in The Italian Job (2003). He has also made a fascinating, Oscar-worthy performance as the revolutionist Mr. Thorne in Land of the Blind (2006) and also as a judge in Reign Over Me (2007). Recently, he has joined forces with his son Rossif Sutherland and Canadian comic Russell Peters with the new comedy The Con Artist (2010), as well as acting alongside Jamie Bell and Channing Tatum in the sword-and-sandal film The Eagle (2011). Sutherland has also taken a role in the remake of Charles Bronson's film The Mechanic (1972).
Donald Sutherland has made a lasting legacy on Hollywood, whether portraying a chilling and horrifying villain, or playing the older respectable character in his films. A true character actor, Sutherland is one of Canada's most well-known names and will hopefully continue on being so long after his time.- Actor
- Director
- Writer
Tommy Lee Jones was born in San Saba, Texas, the son of Lucille Marie (Scott), a police officer and beauty shop owner, and Clyde C. Jones, who worked on oil fields. Tommy himself worked in underwater construction and on an oil rig. He attended St. Mark's School of Texas, a prestigious prep school for boys in Dallas, on a scholarship, and went to Harvard on another scholarship. He roomed with future Vice President Al Gore and played offensive guard in the famous 29-29 Harvard-Yale football game of '68 known as "The Tie." He received a B.A. in English literature and graduated cum laude from Harvard in 1969.
Following college, he moved to New York and began his theatrical career on Broadway in "A Patriot for Me" (1969). In 1970, he made his film debut in Love Story (1970). While living in New York, he continued to appear in various plays, both on- and off-Broadway: "Fortune and Men's Eyes" (1969); "Four on a Garden" (1971); "Blue Boys" (1972); "Ulysses in Nighttown" (1974). During this time, he also appeared on a daytime soap opera, One Life to Live (1968) as Dr. Mark Toland from 1971-75. He moved with wife Kate Lardner, granddaughter of short-story writer/columnist Ring Lardner, and her two children from a previous marriage, to Los Angeles.
There he began to get some roles on television: Charlie's Angels (1976) (pilot episode); Smash-Up on Interstate 5 (1976); and The Amazing Howard Hughes (1977). While working on the movie Back Roads (1981), he met and fell in love with Kimberlea Cloughley, whom he later married. More roles in television--both on network and cable--stage and film garnered him a reputation as a strong, explosive, thoughtful actor who could handle supporting as well as leading roles. He made his directorial debut in The Good Old Boys (1995) on TNT. In addition to directing and starring in the film, he co-wrote the teleplay (with J.T. Allen). The film, based on Elmer Kelton's novel, is set in west Texas where Jones has strong family ties. Consequently, this story of a cowboy facing the end of an era has special meaning for him.- Actor
- Writer
- Soundtrack
He was raised on Kungsholmen in Stockholm, where his father had a flower shop. His father was also a social democratic politician. 'Unga Örnar', a socialist youth club, had a theater club which he joined. Since his parents were poor, he had to start work at the age of 16 as a delievery boy. Meanwhile, he continued with acting, performing at weddings and stag parties. In 1944 he met 'Gunnar 'Knas' Lindkvist' and 'Curt 'Minimal' Åström' and together they formed 'Tre Knas', touring Sweden with funny sketches. In 1946 the three of them joined the Casino Theatre, playing comedy together with Arne Källerud and Gösta Bernhard. In 1957 he bought the 'Nöjeskatten' theatre together with Arne Källerud. His first movies were often extensions of what he had done on the stage: Lattjo med Boccaccio (1949) or Stjärnsmäll i Frukostklubben (1950). As time passed, his acting developed, giving place for more mature and dramatic parts like Harry Munter (1969), Man on the Roof (1976) or _"Babels hus" (1981) (mini)_.- Actor
- Producer
- Music Department
Javier Bardem belongs to a family of actors that have been working on films since the early days of Spanish cinema.
He was born in Las Palmas de Gran Canaria, Spain, to actress Pilar Bardem (María del Pilar Bardem Muñoz) and businessman José Carlos Encinas Doussinague. His maternal grandparents were actors Rafael Bardem and Matilde Muñoz Sampedro, and his uncle is screenwriter Juan Antonio Bardem. He got his start in the family business, at age six, when he appeared in his first feature, "El picaro" (1974) (A.K.A. The Scoundrel). During his teenage years, he acted in several TV series, played rugby for the Spanish National Team, and toured the country with an independent theatrical group. Javier's early film role as a sexy stud in the black comedy, Jamón, Jamón (1992) (aka Ham Ham) propelled him to instant popularity and threatened to typecast him as nothing more than a brawny sex symbol. Determined to avert a beefcake image, he refused similar subsequent roles and has gone on to win acclaim for his ability to appear almost unrecognizable from film to film. With over 25 movies and numerous awards under his belt, it is Javier's stirring, passionate performance as the persecuted Cuban writer, Reynaldo Arenas, in Before Night Falls (2000) that will long be remembered as his breakthrough role. He received five Best Actor awards and a Best Actor Oscar nomination for his portrayal.- Actor
- Producer
- Soundtrack
John Stephen Goodman's an American film, TV & stage actor. He was born in Affton, Missouri to Virginia Roos (Loosmore), a waitress and saleswoman & Leslie Francis Goodman, a postal worker who died when he was a small child. He's of English, Welsh & German ancestry. He's best known for his role as Dan Conner on the TV show Roseanne (1988), which ran until 1997 & for which he earned him a Best Actor Golden Globe in 1993. He's also noted for appearances in films of the Coen brothers, w/ prominent roles in Raising Arizona (1987) as an escaped convict, in Barton Fink (1991) as a congenial murderer, in The Big Lebowski (1998) as a volatile bowler & in O Brother, Where Art Thou? (2000) as a cultured thief. Additionally, he has done voice work in numerous Disney & Pixar films, including the Sulley in Monsters, Inc. (2001). Having contributed to more than 50 films, he has also won 2 American Comedy Awards & hosted Saturday Night Live (1975) 14 times.- Actor
- Producer
- Writer
Malcolm John Taylor was born on June 13, 1943 in Leeds, England, to working-class parents Edna (McDowell), a hotelier, and Charles Taylor, a publican. His father was an alcoholic. Malcolm hated his parents' ways. His father was keen to send his son to private school to give him a good start in life, so Malcolm was packed off to boarding school at age 11. He attended the Tonbridge School and the Cannock House School in Eltham, Kent. At school, he was beaten with the slipper or cane every Monday for his wayward behavior. Whilst at school, he decided that he wanted to become an actor; it was also around this time that his love for race cars began. He attended the London Academy of Music and Dramatic Arts (LAMDA) to study acting. Meanwhile, he worked at his parents' pub but lost his job when the pub went bankrupt, his father drinking all the profits. He then had a variety of jobs, from coffee salesman to messenger.
His first big-screen role was in Poor Cow (1967), although his two-minute scene was ultimately cut from the completed film. Soon after, he caught the attention of director Lindsay Anderson who cast him in the role of a rebellious student in his film If.... (1968). The film catapulted Malcolm to stardom in Britain but failed everywhere else. He was so enthusiastic about the film's success that he wanted to do another right away. He began writing what would become the semi-autobiographical O Lucky Man! (1973). Then he starred as Alex DeLarge in Stanley Kubrick's controversial A Clockwork Orange (1971), a role that gave him world fame, and legendary status (although typecasting him as a in villainous roles). In early 1976, he spent nearly a year working on what would later be one of the most infamous films of all time, the semi-pornographic Caligula (1979), financed by Penthouse magazine founder Bob Guccione. Around that time, the British film industry collapsed, forcing him to flee to America to continue working. His first American film was Time After Time (1979). He then did Britannia Hospital (1982), the last part of Lindsay Anderson's working-class trilogy that started with If.... (1968).
In the mid-1980s, the years of alcohol and drug abuse, including $1000 a week on cocaine, caught up with him. Years of abuse took its toll on him; his black hairs were now gray. Looking older than he really was, nobody wanted to cast him for playing younger roles. The big roles having dried up, he did many B-rated movies. The 1990s were kinder to him, though. In 1994, he was cast as Dr. Tolian Soran, the man who killed Captain James T. Kirk in Star Trek: Generations (1994). He was back on the track, playing villains again. He played another in the classic BBC miniseries Our Friends in the North (1996). Today, with more than 100 films under his belt, he is one of the greatest actors in America. He still does not have American citizenship, but he likes the no-nonsense American ways. He resides in the northern suburbs of Los Angeles, California.- Actor
- Soundtrack
John Carradine, the son of a reporter/artist and a surgeon, grew up in Poughkeepsie, New York. He attended Christ Church School and Graphic Art School, studying sculpture, and afterward roamed the South selling sketches. He made his acting debut in "Camille" in a New Orleans theatre in 1925. Arriving in Los Angeles in 1927, he worked in local theatre. He applied for a job as as scenic designer to Cecil B. DeMille, who rejected his designs but gave him voice work in several films. His on-screen debut was in Tol'able David (1930), billed as Peter Richmond. A protégé and close friend of John Barrymore, Carradine was an extremely prolific film character actor while simultaneously maintaining a stage career in classic leading roles such as Hamlet and Malvolio. In his later years he was typed as a horror star, putting in appearances in many low- and ultra-low-budget horror films. He was a member of the group of actors often used by director John Ford that became known as "The John Ford Stock Company". John Carradine died at age 82 of natural causes on November 27, 1988.- Actor
- Writer
- Camera and Electrical Department
Matti Pellonpää was born on 28 March 1951 in Helsinki, Finland. He was an actor and writer, known for Night on Earth (1991), The Bohemian Life (1992) and Räpsy & Dolly eli Pariisi odottaa (1990). He died on 13 July 1995 in Vaasa, Finland.- Actor
- Producer
- Director
Lanky, charismatic and versatile actor with an amazing grin that put everyone at ease, James Coburn studied acting at UCLA, and then moved to New York to study under noted acting coach Stella Adler. After being noticed in several stage productions, Coburn appeared in a handful of minor westerns before being cast as the knife-throwing, quick-shooting Britt in the John Sturges mega-hit The Magnificent Seven (1960). Sturges remembered Coburn's talents when he cast his next major film project, The Great Escape (1963), where Coburn played the Australian POW Sedgwick. Regular work now came thick and fast for Coburn, including appearing in Major Dundee (1965), the first of several films he appeared in directed by Hollywood enfant terrible Sam Peckinpah.
Coburn was then cast, and gave an especially fine performance as Lt. Commander Paul Cummings in Arthur Hiller's The Americanization of Emily, where he demonstrated a flair for writer Paddy Chayefsky's subtle, ironic comedy that would define his performances for the rest of his career.
The next two years were a key period for Coburn, with his performances in the wonderful 007 spy spoof Our Man Flint (1966) and the eerie Dead Heat on a Merry-Go-Round (1966). Coburn followed up in 1967 with a Flint sequel, In Like Flint (1967), and the much underrated political satire The President's Analyst (1967). The remainder of the 1960s was rather uneventful for Coburn. However, he became associated with martial arts legend Bruce Lee and the two trained together, traveled extensively and even visited India scouting locations for a proposed film project, but Lee's untimely death (Coburn, along with Steve McQueen, was a pallbearer at Lee's funeral) put an end to that.
The 1970s saw Coburn appearing again in several strong roles, starting off in Peckinpah's Pat Garrett & Billy the Kid (1973), alongside Charles Bronson in the Depression-era Hard Times (1975) and as a disenchanted German soldier on the Russian front in Peckinpah's superb Cross of Iron (1977). Towards the end of the decade, however, Coburn was diagnosed with rheumatoid arthritis, which severely hampered his health and work output for many years. After conventional treatments failed, Coburn turned to a holistic therapist, and through a restructured diet program, made a definite improvement. By the 1990s he was once again appearing regularly in both film and TV productions.
No one was probably more surprised than Coburn himself when he was both nominated for, and then won, the Best Supporting Actor Award in 1997 for playing Nick Nolte's abusive and alcoholic father in Affliction (1997). At 70 years of age, Coburn's career received another shot in the arm, and he appeared in another 14 films, including Snow Dogs (2002) and The Man from Elysian Fields (2001), before his death from a heart attack in November of 2002. Coburn's passions in life included martial arts, card-playing and enjoying Cuban cigars (which may have contributed to his fatal heart attack).- Actor
- Director
- Writer
Mathieu Amalric was born on 25 October 1965 in Neuilly-sur-Seine, Hauts-de-Seine, France. He is an actor and director, known for The Diving Bell and the Butterfly (2007), The Grand Budapest Hotel (2014) and Munich (2005).- Young was raised in Washington DC, and attended Kenyon College in Ohio. In 1984, Young moved to New York where he was a core member of the Cucaracha Theatre Company. Damian Young has performed in numerous on and off-Broadway venues, as well as notable regional theaters including The Vineyard, Playwright Horizons, Soho Rep, The Flea and The Atlantic Theater, ART, etc. His work in film and television includes regular roles on The Comeback (HBO), Californication (Showtime) and many others.
- Actor
- Music Department
- Soundtrack
Born in Saumur, France on March 4,1955, Dominique Pinon studied literature at the Faculty of Arts in Poitiers after which he moved to Paris and attended the Cours Simon School of Dramatic Arts. He made his first cinematic appearance in Arthur Joffé's 1980 short film La Découverte.
A versatile and gifted actor, he has produced an impressive body of work in film, television and on stage. He is also an accomplished voice-over actor. With over 100 film and short credits, multiple roles in television and over 40 performances in stage theater (garnering him the Molière Award for Best Actor in 2004), he has acted alongside notables Maggie Smith, Sigourney Weaver, Winona Ryder, Audrey Tatou, Gaspard Ulliel and many others. Pinon has the ability to engage an audience and brings to all his roles a relatability that resonates across cultures and genres.
Pinon's first feature film appearance was in Jean-Jacques Beineix's 1981 classic thriller Diva. He went on to work closely with director Jean-Pierre Jeunet, appearing in many of his films including Delicatessen (1991), Alien: Resurrection (1997) and Amélie, (2001). He has worked with many world-renowned directors. Pinon has played numerous roles on television in France and Europe. He appeared as the fan favorite "Master Raymond" in the internationally popular "Outlander" series (2016).
In 2014 he was made an Officer in the Ordre des Arts et des Lettres, a title given to those who have made a significant contribution to the enrichment of the French cultural inheritance.- Actor
- Producer
- Soundtrack
Preeminent British classical actor of the first post-Olivier generation, Derek Jacobi was knighted in 1994 for his services to the theatre, and, in fact, is only the second to enjoy the honor of holding TWO knighthoods, Danish and English (Olivier was the other). Modest and unassuming in nature, Jacobi's firm place in theatre history centers around his fearless display of his characters' more unappealing aspects, their great flaws, eccentricities and, more often than not, their primal torment.
Jacobi was born in Leytonstone, London, England, the only child of Alfred George Jacobi, a department store manager, and Daisy Gertrude (Masters) Jacobi, a secretary. His paternal great-grandfather was German (from Hoxter, Germany). His interest in drama began while quite young. He made his debut at age six in the local library drama group production of "The Prince and the Swineherd" in which he appeared as both the title characters. In his teens he attended Leyton County High School and eventually joined the school's drama club ("The Players of Leyton").
Derek portrayed Hamlet at the English National Youth Theatre prior to receiving his high school diploma, and earned a scholarship to the University of Cambridge, where he initially studied history before focusing completely on the stage. A standout role as Edward II at Cambridge led to an invite by the Birmingham Repertory in 1960 following college graduation. He made an immediate impression wherein his Henry VIII (both in 1960) just happened to catch the interest of Olivier himself, who took him the talented actor under his wing. Derek became one of the eight founding members of Olivier's National Theatre Company and gradually rose in stature with performances in "The Royal Hunt of the Sun," "Othello" (as Cassio) and in "Hay Fever", among others. He also made appearances at the Chichester Festival and the Old Vic.
It was Olivier who provided Derek his film debut, recreating his stage role of Cassio in Olivier's acclaimed cinematic version of Othello (1965). Olivier subsequently cast Derek in his own filmed presentation of Chekhov's Three Sisters (1970). On TV Derek was in celebrated company playing Don John in Much Ado About Nothing (1967) alongside Maggie Smith and then-husband Robert Stephens; Derek had played the role earlier at the Chichester Festival in 1965. After eight eventful years at the National Theatre, which included such sterling roles as Touchstone in "As You Like It", Jacobi left the company in 1971 in order to attract other mediums. He continued his dominance on stage as Ivanov, Richard III, Pericles and Orestes (in "Electra"), but his huge breakthrough would occur on TV. Coming into his own with quality support work in Man of Straw (1972), The Strauss Family (1972) and especially the series The Pallisers (1974) in which he played the ineffectual Lord Fawn, Derek's magnificence was presented front and center in the epic BBC series I, Claudius (1976). His stammering, weak-minded Emperor Claudius was considered a work of genius and won, among other honors, the BAFTA award.
Although he was accomplished in The Day of the Jackal (1973) and The Odessa File (1974), films would place a distant third throughout his career. Stage and TV, however, would continue to illustrate his classical icon status. Derek took his Hamlet on a successful world tour throughout England, Egypt, Sweden, Australia, Japan and China; in some of the afore-mentioned countries he was the first actor to perform the role in English. TV audiences relished his performances as Richard II (1978) and, of course Hamlet, Prince of Denmark (1980).
After making his Broadway bow in "The Suicide" in 1980, Derek suffered from an alarming two-year spell of stage fright. He returned, however, and toured as part of the Royal Shakespeare Company (1982-1985) with award-winning results. During this period he collected Broadway's Tony Award for his Benedick in "Much Ado about Nothing"; earned the coveted Olivier, Drama League and Helen Hayes awards for his Cyrano de Bergerac; and earned equal acclaim for his Prospero in "The Tempest" and Peer Gynt. In 1986, he finally made his West End debut in "Breaking the Code" for which he won another Helen Hayes trophy; the play was then brought to Broadway.
For the rest of the 80s and 90s, he laid stage claim to such historical figures as Lord Byron, Edmund Kean and Thomas Becket. On TV he found resounding success (and an Emmy nomination) as Adolf Hitler in Inside the Third Reich (1982), and finally took home the coveted Emmy opposite Anthony Hopkins in the WWII drama The Tenth Man (1988). He won a second Emmy in an unlikely fashion by spoofing his classical prowess on an episode of "Frasier" (his first guest performance on American TV), in which he played the unsubtle and resoundingly bad Shakespearean actor Jackson Hedley.
Kenneth Branagh was greatly influenced by mentor Jacobi and their own association would include Branagh's films Henry V (1989), Dead Again (1991), and Hamlet (1996), the latter playing Claudius to Branagh's Great Dane. Derek also directed Branagh in the actor's Renaissance Theatre Company's production of "Hamlet". In the 1990s Derek returned to the Chichester Festival, this time as artistic director, and made a fine showing in the title role of Uncle Vanya (1996).
More heralded work of late include profound portrayals of the anguished titular painter in Love Is the Devil: Study for a Portrait of Francis Bacon (1998), the role of Gracchus in the popular, Oscar-winning film Gladiator (2000), and sterling performances in such films as Two Men Went to War (2002), Bye Bye Blackbird (2005), The Riddle (2007), Endgame (2009), The King's Speech (2010), Jail Caesar (2012), and as the King in Cinderella (2015). Continuing to mesmerize on the stage, he has turned in superb performances in "Uncle Vanya" (2000), Friedrich Schiller's "Don Carlos" (2005), _A Voyage 'Round My Father (2006), "Twelfth Night" (2009) and the title role in "King Lear" (2010). On the British TV series front, he has commanded more recent attention in the title role of a crusading monk in the mystery series Mystery!: Cadfael (1994), as Lord Pirrie in Titanic: Blood and Steel (2012), as Alan in Last Tango in Halifax (2012), and as Stuart Bixby in Vicious (2013).
He and his life-time companion of three decades, Richard Clifford, filed as domestic partners in England in 2006. Clifford, a fine classical actor and producer in his own right, has shared movie time with Jacobi in Little Dorrit (1987), Henry V (1989), and the TV version of Cyrano de Bergerac (1985).- Actor
- Writer
- Producer
John Cleese was born on October 27, 1939, in Weston-Super-Mare, England, to Muriel Evelyn (Cross) and Reginald Francis Cleese. He was born into a family of modest means, his father being an insurance salesman; but he was nonetheless sent off to private schools to obtain a good education. Here he was often tormented for his height, having reached a height of six feet by the age of twelve, and eventually discovered that being humorous could deflect aggressive behavior in others. He loved humor in and of itself, collected jokes, and, like many young Britons who would grow up to be comedians, was devoted to the radio comedy show, "The Goon Show," starring the legendary Peter Sellers, Spike Milligan, and Harry Secombe.
Cleese did well in both sports and academics, but his real love was comedy. He attended Cambridge to read (study) Law, but devoted a great deal of time to the university's legendary Footlights group, writing and performing in comedy reviews, often in collaboration with future fellow Python Graham Chapman. Several of these comedy reviews met with great success, including one in particular which toured under the name "Cambridge Circus." When Cleese graduated, he went on to write for the BBC, then rejoined Cambridge Circus in 1964, which toured New Zealand and America. He remained in America after leaving Cambridge Circus, performing and doing a little journalism, and here met Terry Gilliam, another future Python.
Returning to England, he began appearing in a BBC radio series, "I'm Sorry, I'll Read That Again", based on Cambridge Circus. It ran for several years and also starred future Goodies Tim Brooke-Taylor, Bill Oddie and Graeme Garden. He also appeared, briefly, with Brooke-Taylor, Graham Chapman and Marty Feldman in At Last the 1948 Show (1967), for television, and a series of collaborations with some of the finest comedy-writing talent in England at the time, some of whom - Eric Idle, Terry Gilliam, Terry Jones, Michael Palin, and Chapman - eventually joined him in Monty Python. These programs included The Frost Report (1966) and Marty Feldman's program Marty (1968). Eventually, however, the writers were themselves collected to be the talent for their own program, Monty Python's Flying Circus (1969), which displayed a strange and completely absorbing blend of low farce and high-concept absurdist humor, and remains influential to this day.
After three seasons of the intensity of Monty Python, Cleese left the show, though he collaborated with one or more of the other Pythons for decades to come, including the Python movies released in the mid-70s to early 80s - Monty Python and the Holy Grail (1975), Life of Brian (1979), Monty Python Live at the Hollywood Bowl (1982), and The Meaning of Life (1983). Cleese and then-wife Connie Booth collaborated in the legendary television series Fawlty Towers (1975), as the sharp-tongued, rude, bumbling yet somehow lovable proprietor of an English seaside hotel. Cleese based this character on a proprietor he had met while staying with the other Pythons at a hotel in Torquay, England. Only a dozen episodes were made, but each is truly hilarious, and he is still closely associated with the program to this day.
Meanwhile Cleese had established a production company, Video Arts, for clever business training videos in which he generally starred, which were and continue to be enormously successful in the English-speaking world. He continues to act prolifically in movies, including in the hit comedy A Fish Called Wanda (1988), in the Harry Potter series, and in the James Bond series as the new Q, starting with The World Is Not Enough (1999), in which he began as R before graduating to Q. Cleese also supplies his voice to numerous animated and video projects, and frequently does commercials.
Besides the infamous Basil Fawlty character, Cleese's other well-known trademark is his rendition of an English upper-class toff. He has a daughter with Connie Booth and a daughter with his second wife, Barbara Trentham.
Education and learning are important elements of his life - he was Rector of the University of Saint Andrews from 1973 until 1976, and continues to be a professor-at-large of Cornell University in New York. Cleese lives in Santa Barbara, California.- Actor
- Additional Crew
- Soundtrack
WWII veteran, dance instructor and diversely talented stage & screen actor were all inclusions on the resume of this perpetually busy US actor who didn't get in front of the cameras until around the time of his fortieth birthday. The stockily built Charles Durning was one of Hollywood's most dependable and sought after supporting actors.
Durning was born in Highland Falls, New York, to Louise Marie (Leonard), a laundress, and James Gerald Durning. His father was an Irish immigrant and his mother was of Irish descent. Durning first got his start in guest appearances in early 1960's TV shows. He scored minor roles over the next decade until he really got noticed by film fans as the sneering, corrupt cop "Lt. Snyder" hassling street grifter 'Robert Redford' in the multi award winning mega-hit The Sting (1973). Durning was equally entertaining in the Billy Wilder production of The Front Page (1974), he supported screen tough guy Charles Bronson in the suspenseful western Breakheart Pass (1975) and featured as "Spermwhale Whalen" in the story of unorthodox police behavior in The Choirboys (1977).
The versatile Durning is equally adept at comedic roles and demonstrated his skills as "Doc Hopper" in The Muppet Movie (1979), a feisty football coach in North Dallas Forty (1979), a highly strung police officer berating maverick cop Burt Reynolds in Sharky's Machine (1981), and a light footed, dancing Governor (alongside Burt Reynolds once more) in The Best Little Whorehouse in Texas (1982). Durning continued a regular on screen association with Burt Reynolds appearing in several more feature films together and as "Dr. Harlan Elldridge" in the highly popular TV series Evening Shade (1990). On par with his multitude of feature film roles, Durning has always been in high demand on television and has guest starred in Everybody Loves Raymond (1996), Monk (2002) and Rescue Me (2004). Plus, he has appeared in the role of "Santa Claus" in five different television movies.- Actor
- Producer
- Director
Film and stage actor and theater director Philip Seymour Hoffman was born in the Rochester, New York, suburb of Fairport to Marilyn (Loucks), a lawyer and judge, and Gordon Stowell Hoffman, a Xerox employee, and was mostly of German, Irish, English and Dutch ancestry. After becoming involved in high school theatrics, he attended New York University's Tisch School of the Arts, graduating with a B.F.A. degree in Drama in 1989.
He made his feature film debut in the indie production Triple Bogey on a Par Five Hole (1991) as Phil Hoffman, and his first role in a major release came the next year in My New Gun (1992). While he had supporting roles in some other major productions like Scent of a Woman (1992) and Twister (1996), his breakthrough role came in Paul Thomas Anderson's Boogie Nights (1997).
He quickly became an icon of indie cinema, establishing a reputation as one of the screen's finest actors, in a variety of supporting and second leads in indie and major features, including Todd Solondz's Happiness (1998), Flawless (1999), The Talented Mr. Ripley (1999), Paul Thomas Anderson's Magnolia (1999), Almost Famous (2000) and State and Main (2000). He also appeared in supporting roles in such mainstream, big-budget features as Red Dragon (2002), Cold Mountain (2003) and Mission: Impossible III (2006).
Hoffman was also quite active on the stage. On Broadway, he has earned two Tony nominations, as Best Actor (Play) in 2000 for a revival of Sam Shepard's "True West" and as Best Actor (Featured Role - Play) in 2003 for a revival of Eugene O'Neill (I)'s "Long Day's Journey into Night". His other acting credits in the New York theater include "The Seagull" (directed by Mike Nichols for The New York Shakespeare Festival), "Defying Gravity", "The Merchant of Venice" (directed by Peter Sellars), "Shopping and F*@%ing" and "The Author's Voice" (Drama Desk nomination).
He was the Co-Artistic Director of the LAByrinth Theater Company in New York, for which he directed "Our Lady of 121st Street" by Stephen Adly Guirgis. He also directed "In Arabia, We'd All Be Kings" and "Jesus Hopped the A Train" by Guirgis for LAByrinth, and "The Glory of Living" by Rebecca Gilman at the Manhattan Class Company.
Hoffman consolidated his reputation as one of the finest actors under the age of 40 with his turn in the title role of Capote (2005), for which he won the Los Angeles Film Critics Award as Best Actor. In 2006, he was awarded the Best Actor Oscar for the same role.
On February 2, 2014, Philip Seymour Hoffman was found dead in an apartment in Greenwich village, New York. Investigators found Hoffman with a syringe in his arm and two open envelopes of heroin next to him. Mr. Hoffman was long known to struggle with addiction. In 2006, he said in an interview with "60 Minutes" that he had given up drugs and alcohol many years earlier, when he was age 22. In 2013, he checked into a rehabilitation program for about 10 days after a reliance on prescription pills resulted in his briefly turning again to heroin.- Actor
- Producer
- Writer
John Gavin Malkovich was born in Christopher, Illinois, to Joe Anne (Choisser), who owned a local newspaper, and Daniel Leon Malkovich, a state conservation director. His paternal grandparents were Croatian. In 1976, Malkovich joined Chicago's Steppenwolf Theatre, newly founded by his friend Gary Sinise. After that, it would take seven years before Malkovich would show up in New York and win an Obie in Sam Shepard's play "True West". In 1984, Malkovich would appear with Dustin Hoffman in the Broadway revival of "Death of a Salesman", which would earn him an Emmy when it was made into a made-for-TV movie the next year. His big-screen debut would be as the blind lodger in Places in the Heart (1984), which earned him an Academy Award Nomination for best supporting actor. Other films would follow, including The Killing Fields (1984) and The Glass Menagerie (1987), but he would be well remembered as Vicomte de Valmont in Dangerous Liaisons (1988). Playing against Michelle Pfeiffer and Glenn Close in a costume picture helped raise his standing in the industry. He would be cast as the psychotic political assassin in Clint Eastwood's In the Line of Fire (1993), for which he would be nominated for both the Academy Award and the Golden Globe. In 1994, Malkovich would portray the sinister Kurtz in the made-for-TV movie Heart of Darkness (1993), taking the story to Africa as it was originally written. Malkovich has periodically returned to Chicago to both act and direct.- Actor
- Director
- Writer
Anthony Perkins was born April 4, 1932 in New York City, to Janet Esselstyn (Rane) and Osgood Perkins, an actor of both stage and film. His father died when he was five. Anthony's paternal great-grandfather was engraver Andrew Varick Stout Anthony. Perkins attended the Brooks School, the Browne & Nichols School, Columbia University and Rollins College. He made his screen debut in The Actress (1953), and was nominated for a Best Supporting Actor Oscar Friendly Persuasion (1956). Four years later, he appeared in what would be his most noted role, Norman Bates in Psycho (1960), memorializing him into film history forever.- Actor
- Producer
- Director
Born in West Covina, California, but raised in New York City, Tim Robbins is the son of former The Highwaymen singer Gil Robbins and actress Mary Robbins (née Bledsoe). Robbins studied drama at UCLA, where he graduated with honors in 1981. That same year, he formed the Actors' Gang theater group, an experimental ensemble that expressed radical political observations through the European avant-garde form of theater. He started film work in television movies in 1983, but hit the big time in 1988 with his portrayal of dimwitted fastball pitcher "Nuke" Laloosh in Bull Durham (1988). Tall with baby-faced looks, he has the ability to play naive and obtuse (Cadillac Man (1990) and The Hudsucker Proxy (1994)) or slick and shrewd (The Player (1992) and Bob Roberts (1992)).- Actor
- Music Department
- Soundtrack
One of Swedish theater's most well known actors. Järegård is appreciated for his extrovert and at the same time controlled style of acting, of which he gladly characterized comic or morbid characters. He played the title role in Moliére's "Tartuffe" as well as Orgon (The Royal Dramatic Theatre, 1971) with great success, and before that he had earned very high critical acclaim for his portrayal of Estragon in Samuel Beckett's "Waiting For Godot" (The Royal Dramatic Theatre, 1966), which was later adapted for television in 1971. Among his foremost stage roles were also Hjalmar Ekdal in Ibsen's play "The Wild Duck" (The Royal Dramatic Theater, 1972) directed by Ingmar Bergman. Järegård also appeared in several popular TV-series such as "Skånska mord" (1986), Frida och hennes vän (1970) and De tre från Haparanda (1974), and no one can forget his creepy boss in the TV theater adaption of VD (1988).
Järegård's relatively few appearances on film show a great range from his debut in Ragnar Frisk's Swedish Punks (1962) and the singing prisoner Harald Hansson in Släpp fångarne loss - det är vår! (1975) to a supporting role in Lars von Trier's Europa (1991) and the leading part in von Trier's series The Kingdom (1994), which led to international attention. Since the late '60s Järegård has been very popular in Sweden. With his role as the Swedish doctor Stig-Helmer on "The Kingdom" he also gained popularity in Denmark, despite the fact that his character hates Danes. In Cheek to Cheek (1997), as the old and discarded drag queen Ragnar Rönn who falls in love with an undertaker, Järegård made his final TV appearance and said a grand farewell to the Swedish viewers: The TV-theater adaption of Jonas Gardell's celebrated black comedy/drama play aired in Swedish Television in the autumn of 1998, just after Järegård's passing.- Actor
- Producer
- Director
Multiple Emmy- and Golden Globe-winner Martin Sheen is one of America's most celebrated, colorful, and accomplished actors. Moving flawlessly between artistic mediums, Sheen's acting range is striking.
Sheen was born Ramón Antonio Gerard Estevez in Dayton, Ohio, to Mary-Ann (Phelan), an Irish immigrant (from Borrisokane, County Tipperary), and Francisco Estevez, a Spanish-born factory worker and machinery inspector (from Parderrubias, Galicia). On the big screen, Sheen has appeared in more than 65 feature films including a star turn as Army Captain Benjamin L. Willard in Francis Ford Coppola's landmark film Apocalypse Now (1979), which brought Sheen worldwide recognition. The film also starred Marlon Brando, Dennis Hopper and Robert Duvall. Other notable credits include Wall Street (1987) (with son Charlie Sheen and Michael Douglas), Academy Award-winning film Gandhi (1982) (with Sir Ben Kingsley), Catch Me If You Can (2002) (with Leonardo DiCaprio and Tom Hanks), The American President (1995) (with Michael Douglas and Annette Bening) and a Golden Globe nominated breakthrough performance as Timmy Cleary in The Subject Was Roses (1968), a role he originated on Broadway and for which he received a Tony Award nomination as Best Featured Actor.
In 2006, the actor played ill-fated cop Oliver Queenan in Martin Scorsese's Academy Award-winning film The Departed (2006) opposite Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg and Alec Baldwin.
The same year, Sheen joined another all-star ensemble cast for the highly acclaimed feature Bobby (2006), written and directed by his son, Emilio Estevez. Bobby was nominated for a Golden Globe Award and a SAG Award; and starred Anthony Hopkins, Harry Belafonte, Laurence Fishburne, Sharon Stone, William H. Macy, Elijah Wood, Demi Moore and Heather Graham.
For television audiences, Sheen is best recognized for his six-time Emmy nominated performance as President Josiah Bartlet in The West Wing (1999). Sheen won six of his eight Golden Globe nominations as well as an ALMA Award; and two individual SAG Awards; for the White House series. He won the Golden Globe Award for Best Performance by an Actor TV Series Drama in 2001.
Of his ten Primetime Emmy nominations, Sheen won for Outstanding Guest Actor in a Comedy Series on the long-running sitcom Murphy Brown (1988) (starring Candice Bergen) in 1994. In addition, he has garnered a Daytime Emmy Award for directing and another for performance.
In 2006, Sheen was again nominated for an Emmy for Outstanding Guest Actor in a Comedy Series; this time for the CBS hit comedy Two and a Half Men (2003), starring his son Charlie Sheen.
In addition to series television, Sheen has appeared in several important made-for-television movies and mini-series including playing President John F. Kennedy in the television mini-series Kennedy (1983) for which he received a Golden Globe nomination.- Actor
- Composer
- Music Department
Markku Peltola was born on 12 July 1956 in Helsinki, Finland. He was an actor and composer, known for The Man Without a Past (2002), Private Eye Vares (2004) and Juha (1999). He died on 31 December 2007 in Kangasala, Finland.- Actor
- Producer
- Director
Gérard Depardieu was born in Châteauroux, Indre, France, to Anne Jeanne Josèphe (Marillier) and René Maxime Lionel Depardieu, who was a metal worker and fireman. Young delinquent and wanderer in the past, Depardieu started his acting career at the small traveling theatre "Café de la Gare", along with Patrick Dewaere and Miou-Miou. After minor roles in cinema, at last, he got his chance in Bertrand Blier's Going Places (1974). That film established a new type of hero in the French cinema and the actor's popularity grew enormously. Later, he diversified his screen image and became the leading French actor of the 80s and 90s. He was twice awarded a César as Best Actor for The Last Metro (1980) and Cyrano de Bergerac (1990), also received an Oscar nomination for "Cyrano" and a number of awards at international film festivals. In 1996, he was distinguished by the highest French title of "Chevalier de la Légion d'Honneur". He married Elisabeth Depardieu in 1971, and they divorced in 1996; she appeared with him in Jean de Florette (1986) and Manon of the Spring (1986); their children Guillaume Depardieu and Julie Depardieu are both actors.- Actor
- Second Unit Director or Assistant Director
- Location Management
Pierre Lindstedt was born on 15 August 1943 in Dalarö, Stockholms län, Sweden. He is an actor and assistant director, known for Mysteriet på Greveholm (1996), The Emigrants (1971) and Hugs and Kisses (1967).- Actor
- Location Management
- Soundtrack
David Bradley was born on 17 April 1942 in York, Yorkshire, England, UK. He is an actor, known for The World's End (2013), Hot Fuzz (2007) and Harry Potter and the Deathly Hallows: Part 2 (2011). He has been married to Rosanna Bradley since 1978. They have three children.- Actor
- Director
- Soundtrack
Lee J. Cobb, one of the premier character actors in American film for three decades in the post-World War II period, was born Leo Jacoby in New York City's Lower East Side on December 8, 1911. The son of a Jewish newspaper editor, young Leo was a child prodigy in music, mastering the violin and the harmonica. Any hopes of a career as a violin virtuoso were dashed when he broke his wrist, but his talent on the harmonica may have brought him his first professional success. At the age of 16 or 17 he ran away from home to Hollywood to try to break into motion pictures as an actor. He reportedly made his film debut as a member of Borrah Minevitch and His Harmonica Rascals (their first known movie appearance was in the 1929 two-reeler Boyhood Days), but that cannot be substantiated. However, it's known that after Leo was unable to find work he returned to New York City, where he attended New York University at night to study accounting while acting in radio dramas during the day.
An older Cobb tried his luck in California once more, making his debut as a professional stage actor at the Pasadena Playhouse in 1931. After again returning to his native New York, he made his Broadway debut as a saloonkeeper in a dramatization of Fyodor Dostoevsky's Crime and Punishment, but it closed after 15 performances (later in his career, Dostoevsky would prove more of a charm, with Cobb's role as Father Karamazov in The Brothers Karamazov (1958) garnering him his second Oscar nomination),
Cobb joined the politically progressive Group Theater in 1935 and made a name for himself in Clifford Odets' politically liberal dramas Waiting for Lefty and Til the Day I Die, appearing in both plays that year in casts that included Elia Kazan, who later became famous as a film director. Cobb also appeared in the 1937 Group Theater production of Odets' Golden Boy, playing the role of Mr. Carp, in a cast that also included Kazan, Julius Garfinkle (later better known under his stage name of John Garfield), and Martin Ritt, all of whom later came under the scrutiny of the House Un-American Activities Committee during the heyday of the McCarthy Red Scare hysteria more than a decade later. Cobb took over the role of Mr. Bonaparte, the protagonist's father, in the 1939 film version of the play, despite the fact that he was not yet 30 years old. The role of a patriarch suited him, and he'd play many more in his film career.
It was as a different kind of patriarch that he scored his greatest success. Cobb achieved immortality by giving life to the character of Willy Loman in the original 1949 Broadway production of Arthur Miller's Death of a Salesman. His performance was a towering achievement that ranks with such performances as Edwin Booth as Richard III and John Barrymore as Hamlet in the annals of the American theater. Cobb later won an Emmy nomination as Willy when he played the role in a made-for-TV movie of the play (Death of a Salesman (1966)). Miller said that he wrote the role with Cobb in mind.
Before triumphing as Miller's Salesman, Cobb had appeared on Broadway only a handful of times in the 1940s, including in Ernest Hemingway's The Fifth Column (1940), Odets' "Clash by Night" (1942) and the US Army Air Force's Winged Victory (1943-44). Later he reprised the role of Joe Bonaparte's father in the 1952 revival of Golden Boy opposite Garfield as his son, and appeared the following year in The Emperor's Clothes. His final Broadway appearance was as King Lear in the Repertory Theatre of Lincoln Center's 1968 production of Shakespeare's play.
Aside from his possible late 1920s movie debut and his 1934 appearance in the western The Vanishing Shadow (1934), Cobb's film career proper began in 1937 with the westerns North of the Rio Grande (1937) (in which he was billed as Lee Colt) and Rustlers' Valley (1937) and spanned nearly 40 years until his death. After a hiatus while serving in the Army Air Force during World War II, Cobb's movie career resumed in 1946. He continued to play major supporting roles in prestigious A-list pictures. His movie career reached its artistic peak in the 1950s, when he was twice nominated for Best Supporting Actor Academy Awards, for his role as Johnny Friendly in On the Waterfront (1954) and as the father in The Brothers Karamazov (1958). Other memorable supporting roles in the 1950s included the sagacious Judge Bernstein in The Man in the Gray Flannel Suit (1956), as the probing psychiatrist Dr. Luther in The Three Faces of Eve (1957) and as the volatile Juror #3 in 12 Angry Men (1957).
It was in the 1950s that Cobb achieved the sort of fame that most artists dreaded: he was called before the House Un-American Activities Committee on charges that he was or had been a Communist. The charges were rooted in Cobb's membership in the Group Theater in the 1930s. Other Group Theater members already investigated by HUAC included Clifford Odets and Elia Kazan, both of whom provided friendly testimony before the committee, and John Garfield, who did not.
Cobb's own persecution by HUAC had already caused a nervous breakdown in his wife, and he decided to appear as a friendly witness in order to preserve her sanity and his career, by bringing the inquisition to a halt. Appearing before the committee in 1953, he named names and thus saved his career. Ironically, he would win his first Oscar nomination in On the Waterfront (1954) directed and written by fellow HUAC informers Kazan and Budd Schulberg. The film can be seen as a stalwart defense of informing, as epitomized by the character Terry Malloy's testimony before a Congressional committee investigating racketeering on the waterfront.
Major films in which Cobb appeared after reaching his career plateau include Otto Preminger's adaptation of Leon Uris' ode to the birth of Israel, Exodus (1960); the Cinerama spectacle How the West Was Won (1962); the James Coburn spy spoofs, Our Man Flint (1966) and In Like Flint (1967); Clint Eastwood's first detective film, Coogan's Bluff (1968); and legendary director William Wyler's last film, The Liberation of L.B. Jones (1970).
In addition to his frequent supporting roles in film, Cobb often appeared on television. He played Judge Henry Garth on The Virginian (1962) from 1962-66 and also had a regular role as the attorney David Barrett on The Young Lawyers (1969) from 1970-71. Cobb also appeared in made-for-TV movies and made frequent guest appearances on other TV shows. His last major Hollywood movie role was that of police detective Lt. Kinderman in The Exorcist (1973).
Lee J. Cobb died of a heart attack in Woodland Hills, California, on February 11, 1976, at the age of 64. He is buried in Mount Sinai Memorial Park Cemetery in Los Angeles, California. Though he will long be remembered for many of his successful supporting performances in the movies, it is as the stage's first Willy Loman in which he achieved immortality as an actor. Bearing in mind that the role was written for him, it is through Willy that he will continue to have an influence on American drama far into the future, for as long as Death of a Salesman is revived.- Actor
- Soundtrack
James Fox is the second of three sons, born to the theatrical agent Robin Fox and his actress wife Angela Worthington - aka Angela Fox. His brothers are the actor Edward Fox and the producer Robert Fox. He started acting as a child actor and used his real name, until he reached his early 20s. He trained at the Central School of Speech and Drama. He left for nine years from 1970 to 1979 to pursue Christian vocational work. His niece is the actress Emilia Fox and he has a half-brother to the actor Daniel Chatto. From his marriage to Mary Piper, he has four sons: Thomas Fox, born 1975; Robin Fox, born 1976; the actors Laurence Fox, born 1978; Jack Fox, born 1985, and one daughter, Lydia Fox, born 1979. He published a book, "Comeback: An Actor's Direction", in 1983.- Actor
- Writer
- Director
Per Oscarsson was born on 28 January 1927 in Stockholm, Stockholms län, Sweden. He was an actor and writer, known for Hunger (1966), The Girl Who Played with Fire (2009) and Ronia: The Robber's Daughter (1984). He was married to Gerd Hegnell and Kia Östling. He died on 31 December 2010 in Skara, Västra Götalands län, Sweden.- Peter Andersson was born on 12 February 1953 in Gothenburg, Västra Götalands län, Sweden. He is an actor, known for The Girl Who Played with Fire (2009), The Girl with the Dragon Tattoo (2009) and Underworld: Blood Wars (2016).
- Actor
- Director
- Second Unit Director or Assistant Director
Bengt Ekerot was born on 8 February 1920 in Stockholm, Stockholms län, Sweden. He was an actor and director, known for The Seventh Seal (1957), The Magician (1958) and Det glada kalaset (1946). He was married to Margareta Hallin and Antoinette Gram. He died on 26 November 1971 in Stockholm, Stockholms län, Sweden.- Actor
- Director
- Writer
Frej Lindqvist was born on 13 October 1937 in Helsinki, Finland. He is an actor and director, known for Blue Eyes (2014), Vägg i vägg (1986) and Haren och vråken (1984).- Actor
- Soundtrack
Åke Fridell was born on 23 June 1919 in Gävle, Gävleborgs län, Sweden. He was an actor, known for The Seventh Seal (1957), Wild Strawberries (1957) and Smiles of a Summer Night (1955). He died on 26 August 1985 in Stockholm, Stockholms län, Sweden(undisclosed).- Director
- Actor
- Writer
Victor Sjöström was born on September 20, 1879, and is the undisputed father of Swedish film, ranking as one of the masters of world cinema. His influence lives on in the work of Ingmar Bergman and all those directors, both Swedish and international, influenced by his work and the works of directors whom he himself influenced.
As a boy Sjöström was close to his mother, who died during childbirth when he was seven years old. Biographers see this truncated relationship as being essential to the evolution of his dramatic trope of strong-willed, independent women in his films. He was masterful at eliciting sensitive performances from actresses, such as that of Lillian Gish in his American classic The Wind (1928).
The teenaged Sjöström loved the theater, but after his education he turned to business, becoming a donut salesman. Fortunately for the future of Swedish cinema, he was a flop as a salesman, and turned to the theater, becoming an actor and then director. The Swedish film company Svenska Bio hired him and fellow stage director Mauritz Stiller to helm pictures, and from 1912-15 he directed 31 films. Only three of them survive (it is estimated that approximately 150,000 films, or 80% of the total silent-era production, has been lost). He directed Ingeborg Holm (1913), considered the first classic of Swedish cinema.
Despite the exigencies of working in an industrial art form, most Svenska Bio films of this period are embarrassments in an artistic sense--turgid melodramas, absurd romances and shaggy dog-style comedies--and there is no reason to think that the director didn't helm his share of such fare. Even taking that into account, Sjöström managed to develop a personal style. The reason he became internationally famous (and wooed by Hollywood) was the richness of his films, which were full of psychological subtleties and natural symbolism that was integrated into the works as a whole. He dealt with such major themes as guilt, redemption and the rapidly evolving place of women in society.
His 1920 film The Phantom Carriage (1921) (a.k.a. "Thy Soul Shall Bear Witness") was an internationally acclaimed masterpiece, and Goldwyn Pictures hired him to direct Name the Man! (1924) (Goldwayn was folded into Metro-Goldwyn-Mayer in 1924, where he worked until shortly after the advent of sound). Sjöström's name was changed to "Victor Seastrom" (a phonetic pronunciation in a country with limited word fonts), and he became a major American director, a pro-to David Lean, who was renowned for balancing artistic expression with a concern for what would play at the box office. His first MGM film was the Lon Chaney melodrama He Who Gets Slapped (1924). It was not only a critical success but a huge hit, getting the new studio off onto a sound footing.
He was highly respected by MGM chief Louis B. Mayer and by production head Irving Thalberg, who shared Sjöström's concerns with art that did not exclude profit. Sjöström became one of the most highly paid directors in Hollywood, reaching his peak at the end of the silent era (when the silent film reached its maturation as an art form) with two collaborations with Lillian Gish: The Scarlet Letter (1926) and "The Wind" (1926), his last masterpiece.
He departed Hollywood for Sweden after A Lady to Love (1930), returning one last time to helm Under the Red Robe (1937) for 20th Century-Fox, and although he made two movies in Sweden in the intervening years, his career as a director basically ended with the sound era. He returned to his first avocation, acting in Swedish films, in the 1930s, '40s and '50s. In his later years he was a mentor to Ingmar Bergman and gave a remarkable performance in Bergman's masterpiece "Wild Strawberries" (1957), for which he won the National Board of Review's Best Actor Award. In his professional life he was a workaholic, and in his private life was reticent about his films and his fame and remained intensely devoted to his wife Edith Erastoff and his family.
Victor Sjöström died on January 3, 1960, at the age of 80.- Actor
- Director
Ulrich Mühe was born on 20 June 1953 in Grimma, East Germany. He was an actor and director, known for The Lives of Others (2006), Funny Games (1997) and Der letzte Zeuge (1998). He was married to Susanne Lothar, Jenny Gröllmann and Annegret Hahn. He died on 22 July 2007 in Walbeck, Saxony-Anhalt, Germany.- Actor
- Director
- Soundtrack
Born to a Czech mother and a Serbian father in Chicago as Mladen Sekulovich, on March 22, 1912, Karl Malden did not speak English until he was in kindergarten. After graduating from high school in the nearby steel town of Gary, Indiana, Malden worked in the industry for three years until 1934, when he was frustrated with the drudgery of manual labor. He left to attend the Arkansas State Teacher's College, then the Goodman Theater Dramatic School and never looked back. Three years later, he went to New York City to find fame.
Malden rapidly became involved with the Group Theater, an organization of actors and directors who were changing the face of theater, where he attracted the attention of director Elia Kazan. With Kazan directing, Karl starred in plays such as "All My Sons" by Arthur Miller and "A Streetcar Named Desire" by Tennessee Williams. While Malden had one screen appearance before his military service in World War II, in They Knew What They Wanted (1940), he did not establish his film career until after the war. Malden won the Oscar for Best Supporting Actor as Mitch in A Streetcar Named Desire (1951) and showed his range as an actor in roles such as that of Father Corrigan in On the Waterfront (1954) and the lecherous Archie Lee in Baby Doll (1956).
He starred in dozens of films such as Fear Strikes Out (1957), Pollyanna (1960), Birdman of Alcatraz (1962), Gypsy (1962), How the West Was Won (1962), The Cincinnati Kid (1965), and Patton (1970) as General Omar Bradley. In the early 1970s, he built a television career on the tough but honest screen persona he had created when he starred as Detective Mike Stone on The Streets of San Francisco (1972), co-starring with Michael Douglas. He also became the pitchman for American Express, a position he held for 21 years. In 1988, he was elected President of the Academy of Motion Picture Arts and Sciences, a position he held for five years. Following that he, published his memoir entitled, "When Do I Start?: A Memoir", written with his daughter Carla.
Malden also courted controversy by pushing for a special salute to Elia Kazan at the 1999 Academy Awards. Malden defended both Kazan and the award, arguing that Kazan's artistic achievements outshone any shame attached to Kazan's naming names before the Congressional committee investigating Communists in Hollywood. Marlon Brando refused to give Kazan the statuette; Robert De Niro ultimately did. Karl Malden died at age 97 of natural causes at his home in Los Angeles on July 1, 2009. He was buried at Westwood Village Memorial Park Cemetery in Westwood, California.- Actor
- Director
- Writer
Of Greek descent on both sides, the son of immigrants, Savalas was a soldier during World War II, although most of his enlistment records were destroyed in a fire at the National Personnel Records Center in St. Louis, Missouri, in 1973. He later studied psychology at Columbia University under the GI Bill.
Iconically bald, he often played character roles, sometimes as sadists or psychotics. He became famous in the 1970s when his role as Det. Theo Kojak in the TV movie The Marcus-Nelson Murders (1973) was expanded into the gritty Kojak (1973) TV series (1973-78).- Actor
- Producer
- Director
Paul Giamatti is an American actor who has worked steadily and prominently for over thirty years, and is best known for leading roles in the films American Splendor (2003), Sideways (2004), and Barney's Version (2010) (for which he won a Golden Globe), and supporting roles in the films Cinderella Man (2005), The Illusionist (2006), and San Andreas (2015).
Paul Edward Valentine Giamatti was born June 6, 1967 in New Haven, Connecticut, and is the youngest of three children. His mother, the former Toni Marilyn Smith, was an actress before marrying. His father, Bart Giamatti (Angelo Bartlett Giamatti), was a professor of Renaissance Literature at Yale University, and went on to become the university's youngest president (in 1986, Bart was appointed president of baseball's National League. He became Commissioner of Baseball on April 1, 1989 and served for five months until his untimely death on September 1, 1989. He was commissioner at the time Pete Rose was banned from the game). Paul's father also wrote six books. Paul's older brother, Marcus Giamatti, is also an actor. His sister, Elena, designs jewelry. His ancestry is Italian (from his paternal grandfather), German, English, Dutch, Scottish, and Irish.
Paul graduated from Choate Rosemary Hall prep school, majored in English at Yale, and obtained his Master's Degree in Fine Arts, with his major in drama from the Yale University School of Drama. His acting roots are in theatre, from his college days at Yale, to regional productions (Seattle, San Diego and Williamstown, Massachusetts), to Broadway.- Actor
- Soundtrack
Ciarán Hinds was born in Belfast, Northern Ireland on February 9, 1953. He was one of five children and the only son. His father was a doctor who hoped to have Ciarán follow in his footsteps, but that was not to be. It was his mother Moya, an amateur actress, who was the real influence behind his decision to become an actor. Though he did enroll in Law at Queens' University of Belfast, he left that in order to train in acting at RADA. He began his stage career at the Glasgow Citizens' Theatre as a pantomime horse in the production of "Cinderella". Staying with the company for several years, he starred in a number of productions, including playing the lead roles in "Arsenic and Old Lace" and "Faust". His stage career has included working with The Field Day Company and a number of world tours. He has starred in a number of productions with the Royal Shakespeare Company, including a world tour in the title role of "Richard III". Hinds' film career began in 1981 in the movie Excalibur (1981), which boasted a cast rich in talented actors including Liam Neeson, Gabriel Byrne and Patrick Stewart. In-between his movie work, he's amassed a large number of television credits. Playing such classic characters as "Mr. Rochester" in Jane Eyre (1997), and "Captain Wentworth" in Persuasion (1995) has increased his popularity and most definitely given him much increased recognition. As for his personal life, you won't be likely to see his name in the weekly tabloids. He likes to keep his private life private. It is known that he is in a long-term, committed relationship with a French-Vietnamese actress named Hélène Patarot and they have a daughter together and live in Paris. He is in very high demand and his reputation as a quality, professional actor is sure to keep him busy for as long as he chooses.- Actor
- Writer
- Director
John Gilbert was born into a show-business family - his father was a comic with the Pringle Stock Company. By 1915 John was an extra with Thomas H. Ince's company and a lead player by 1917. In those days he was assistant director, actor or screenwriter. He also tried his hand at directing. By 1919 he was being noticed in films and getting better roles. In 1921 he signed a three-year contract with Fox Films. His popularity continued to soar and he was turning from villain to leading man. In 1924 he signed with MGM which put him into His Hour (1924). In 1925 he appeared in the very successful The Big Parade (1925) and was, by now, as popular as Rudolph Valentino. Lillian Gish, who had a new contract with MGM, picked Gilbert to co-star with her in La Bohème (1926). With the death of Valentino, his only competition, John was on top of the world. Then came Greta Garbo, who starred with him in Love (1927), Flesh and the Devil (1926) and A Woman of Affairs (1928). The screen chemistry between these two was incredible and led to a torrid off-screen affair. The studio publicity department worked overtime to publicize the romance between the two, but when it came time to marry, John was left at the altar. His performances after that were devoid of the sparkle that he once had and he began to drink heavily. Added to that, the whole industry was moving towards sound, and while his voice was not as bad as some had thought, it did not match the image that he portrayed on the screen. Even his characters had changed, in such films as Redemption (1930) and Way for a Sailor (1930). He was no longer the person that bad things happened to, but he now was the cause of bad things which happen. MGM did little to help John adjust to the new sound medium, as studio chief Louis B. Mayer and Gilbert had a fierce and nasty confrontation over Garbo. John was still under contract to MGM for a very large salary, but the money meant little to him. His contract ran out in 1933 after he appeared in Fast Workers (1933) as a riveter.
Garbo tried to restore some of his image when she insisted that he play opposite her in Queen Christina (1933), but by then it was too late. He appeared in only one more film and died of a heart attack in January 1936.- Actor
- Writer
- Music Department
Bertil Norström was born on 9 September 1923 in Sala, Västmanlands län, Sweden. He was an actor and writer, known for Profitörerna (1983), The Brothers Lionheart (1977) and Älskling på vift (1964). He was married to Margreth Weivers. He died on 6 September 2012 in Stockholm, Stockholms län, Sweden.- Actor
- Writer
- Producer
Charles Laughton was born in Scarborough, Yorkshire, England, to Eliza (Conlon) and Robert Laughton, hotel keepers of Irish and English descent, respectively. He was educated at Stonyhurst (a highly esteemed Jesuit college in England) and at the Royal Academy of Dramatic Art (received gold medal). His first appearance on stage was in 1926. Laughton formed own film company, Mayflower Pictures Corp., with Erich Pommer, in 1937. He became an American citizen 1950. A consummate artist, Laughton achieved great success on stage and film, with many staged readings (particularly of George Bernard Shaw) to his credit. Laughton died in Hollywood, California, aged 63.- Actor
- Director
- Writer
Keve Hjelm was born on 23 June 1922 in Gnesta, Södermanlands län, Sweden. He was an actor and director, known for Raven's End (1963), Godnatt, jord (1979) and Roseanna (1967). He was married to Ingrid Håkansson. He died on 3 February 2004 in Stockholm, Stockholms län, Sweden.- Actor
- Director
- Writer
Jean-Pierre Darroussin was born on 4 December 1953 in Courbevoie, Seine [now Hauts-de-Seine], France. He is an actor and director, known for Family Resemblances (1996), Le pressentiment (2006) and Le Havre (2011).- Campbell was born in Sale, Cheshire on 26th April 1880 and began acting as a boy. He married fellow music hall performer Fanny Gertrude Robotham on March 30, 1901 and was later hired by English music hall impresario Fred Karno for his "Fun Factory" comedy troupes that featured other comics like a young Charlie Chaplin and Stan Laurel. Campbell arrived in New York with a Karno troupe in July, 1914 and was soon hired by Broadway producer Charles Frohman. In late 1915 fellow Karno alum Chaplin and his brother Sid found Eric working in a George M. Cohan play "Pom Pom" and in March, 1916, brought him to Hollywood. Built like a wrestler, over 6' tall and over 250 pounds, topped by small shaved head. Chaplin smeared his face with exaggerated eyebrows and darkened eyes, with a scraggly and long beard. He was the menacing bearded ogre opposite Chaplin in his most famous silents. His first Chaplin film was The Floorwalker (1916), playing the role of the villainous heavy, reprised in subsequent classics like The Rink (1916), The Pawnshop (1916), The Adventurer (1917), The Cure (1917), The Immigrant (1917), Easy Street (1917) and Chase me Charlie (1917). By the summer of 1917 Campbell was Chaplin's favorite co-star and foil, and almost as famous as the little comedian. In early 1917 Campbell filmed his last Chaplin Mutual, The Adventurer, after which Chaplin began construction on his own studio on LaBrea Avenue in Hollywood (which still stands today). During the five-month construction period, Chaplin lent Campbell to Mary Pickford, the world's biggest star, to appear in her film Amarilly of Clothes-Line Alley (1917). He was on the verge of becoming a world-wide star as filming began. But at the same time that he was becoming famous his personal life was beset by tragedy and scandal. On July 9, 1917 his wife died suddenly of a heart attack after dinner at a Santa Monica restaurant near their home. Walking to a nearby store to buy a mourning dress, his 16-year-old daughter Una was hit by a car a seriously injured. At a September 12th party given for Artcraft Studio publicity man Pete Schmid, Campbell met Pearl Gilman, a diminutive vaudeville comedienne with a family reputation for gold-digging. She had been married to candy heir Charles W. Alisky in 1912, and a few years later divorced and married another wealthy man, Theodore Arnreiter. Her sister Mabelle was married to elderly steel magnate William E. Corey, the owner of U.S. Steel. Just five days after they met, Campbell and Gilman Alisky-Arnreiter were married at the home of Elaine Hardy at 824 5th Street in Santa Monica. His daughter Una, still recuperating at a friend's home in Santa Monica canyon, was not told of the wedding for several weeks. Less than two months after marrying the gentle giant, Gilman Alisky-Arnreiter sued him for divorce. He moved out of the Santa Monica bungalow and into the Los Angeles Athletic Club, taking a room next to his best friend Chaplin. A month later later on December 20, Campbell attended a Christmas party at the Vernon Country Club, and drove back to L.A. in a drunken stupor. Approaching the intersection of Wilshire Blvd. and Vermont Ave. at over 60 m.p.h., he lost control of his car, crossed Wilshire and hit another car head-on. He was killed instantly, his massive body locked in the crumpled wreckage for over five hours. Heartbreak never left Campbell, even in death. After his remains were cremated, his ashes were sent to the Rosedale Cemetery, where they remained for six months while the cemetery waited in vain for someone to pay for his funeral. When the bill remained unpaid, the urn was returned to the Handley Mortuary, where it sat unnoticed in a closet from 1917 until late 1938. When the mortuary closed the urn was sent back to Rosedale, where it sat in another closet for still another 13 years. In 1952 a kindhearted office worker arranged for Campbell's remains to finally be buried. But, unfortunately, he forgot to record exactly where Campbell was buried, so the burly Scotsman is lost among the markers and statues in the quiet cemetery. In conjunction with a Scottish film about Campbell's life, a memorial plaque was laid in 1996. Campbell's death had a profound effect on Chaplin, and a quieter effect on movie history. After that time, Chaplin's movies lost some of their comic mystery; that certain something that his Mutual films had but subsequent films did not. His later works were much more self-centered and missing the comic give-and-take of his work with Campbell. There's no telling how famous Eric Campbell would have become, or what different films Chaplin may have done with his burly best friend.
- Actor
- Director
- Producer
Vincent Gallo. American-born, Buffalo, New York, 1961. Left home, moved to New York City in 1978, and began playing in the experimental musical group, Gray, with artist Jean Michel Basquiat. After leaving Gray, he formed the band, Bohack, and recorded the highly regarded avant-garde industrial noise album, "It Took Several Wives".
During the same period, Gallo also became known in New York City for his very unusual street performances, which were spontaneously executed in public and also witnessed by invited guests in the know. The One-Armed Man, The Man with No Face, Sandman, Boy Hit by a Car, and Boy Cries in Restaurant Window, to name a few. These radical public performances were upsetting and disturbing and were meant to provoke thought, self-reflection and consciousness. Gallo's invited guests could witness his performance's impact in this larger public context.
One invited guest, New York Underground filmmaker, Eric Mitchell, cast Gallo as the lead in his film, The Way It Is (1985), alongside newcomer Steve Buscemi. The Way It Is (1985) was Gallo's first appearance in a feature-length film, though previously he had directed himself in several short films, including If You Feel Froggy, Jump (1980), The Gunlover (1986) and Rocky 10, as well as the collaborations with filmmaker Michael Holman, Vincent Gallo as "Jesus Christ" (used in Julian Schnabel's Basquiat (1996)) and Vampire LeStat.
Since his early performance art days, Gallo has continued to create very conceptual performance pieces. Examples are a series of protesting of protests. Gallo has also created his own website, which upon closer examination, is actually a highly conceptual artwork resonating with his early performance work.
On his website www.vincentgallo.com in the merchandise section, Gallo is selling his sperm and sexual fantasies as conceptual works. Gallo's Internet art questions celebrity, procreation, ego, social agenda, and views of religion, race and sexuality. These public offerings are motivated by extreme sensitivity, concept and thoughtfulness, however their presentation appears crude and offensive. Misinterpretation of this work is common and Gallo is often incorrectly categorized as a racist, sexist, homophobe. Gallo has had over 25 one-man shows of his paintings, including several with famed New York art dealer, Annina Nosei, and 4 museum shows including one at the Hara Museum in Tokyo, Japan.
Gallo has also released several musical albums including 2 on the prestigious Warp Records label-When and Recordings of Music for Film. Gallo wrote, composed and performed the original music for the films Buffalo '66 (1998), The Agent (1990) and Promises Written in Water (2010).
In the 1980s, Gallo reached the professional level of Grand Prix motorcycle racing, though he did not win a national championship. Gallo is one of the actual motorcycle riders in his feature film, The Brown Bunny (2003).
For many years, Gallo has been known and highly respected in hi-fi and music recording circles and is considered by many professionals in the field as having world-class knowledge and experience. He has been published many times by specialty magazines focused on high fidelity designs and equipment as well as music recording techniques and equipment. His collection of vintage hi-fi and recording gear, as well as musical instruments, is amongst the largest and most refined in the world. Gallo is also a fanatic record collector, owning over 35,000 vinyl LP's.
Gallo has no agent, manager, assistant or intern and he makes his films without producers, and with extremely scaled down crews. He has self-distributed his movies and is directly involved in his films' sales for distribution. Gallo has also created all of his films' trailers and posters.
Gallo is one of the most misunderstood, misquoted, misrepresented talents in the past 25 years and a brief review of his IMDb page suggests he has also been incredibly prolific.- Actor
- Composer
- Music Department
The unwanted son of a prostitute, Bruno S. was beaten so severely by his mother at age 3 that he became temporarily deaf. This led to his placement in a mental institution; he spent the next 23 years in various institutions, often running afoul of the law. Despite this past, he a self-taught painter and musician; while these were his favorite occupations, he was also forced to take jobs in factories such as driving a fork lift. Director Werner Herzog saw him in the documentary Bruno the Black - One Day a Hunter Blew His Horn (1970) and vowed to work with him, which led to his major roles in The Enigma of Kaspar Hauser (1974) and Stroszek (1977). He was very difficult to work with, though, sometimes needing several hours of screaming before he could do a scene.- Actor
- Soundtrack
A classical actor (and founding member in 1960 of the Royal Shakespeare Company), Richardson earned international fame as the villainous Francis Urquart in the BBC television trilogy, "House of Cards." Uttered in a cut-glass accent, the Machiavellian Prime Minister's sly "You might well think that ... I couldn't possibly comment" became a catchphrase when the series was broadcast in the 1990s. Richardson's contributions to his art were honored in 1989 when he was made a Commander of the Order of the British Empire (CBE.) Fittingly, his family had his ashes buried beneath the auditorium of the new Royal Shakespeare theatre in Stratford-upon-Avon.
Born the son of John and Margaret (Drummond) Richardson on April 7, 1934, he was educated at Tynecastle School in Edinburgh, and studied for the stage at the College of Dramatic Art in Glasgow, where he was awarded the James Bridie Gold Medal in 1957. He joined the Birmingham Repertory Theatre Company a year later where he played Hamlet as well as John Worthing in "The Importance of being Earnest." In 1960 he joined the Royal Shakespeare Company (then called the Shakespeare Memorial Theatre) and drew excellent notices for his work in "The Merchant of Venice," "Twelfth Night," "The Winter's Tale," "Much Ado About Nothing," "A Midsummer Night's Dream," "The Taming of the Shrew," "The Comedy of Errors" and "King Lear", among others. In 1964 Richardson played the role of the Herald before advancing to the title role of Jean-Paul Marat in the stunning, avant-garde RSC production of "Marat-Sade". In addition, he made his Broadway debut in said role at the very end of 1965, and recreated it to critical acclaim in Peter Brooks' film adaptation with Glenda Jackson as murderess Charlotte Corday. Richardson also went on to replay Oberon in a lukewarm film version of RSC's A Midsummer Night's Dream (1968) that nevertheless bore an elite company of Britain's finest pre-Dames -- Judi Dench, Helen Mirren and Diana Rigg. One of his lower film points during that time period, however, was appearing in the huge musical movie misfire Man of La Mancha (1972) in the role of the Padre opposite Peter O'Toole and Sophia Loren.
Richardson was never far from the Shakespearean stage after his induction into films with majestic portraits of Coriolanus, Pericles, Richard II, Richard III, Cassius ("Julius Caesar"), Malcolm ("Macbeth"), Angelo ("Measure for Measure"), Prospero ("The Tempest") and Mercutio ("Romeo and "Juliet") paving the way. Elsewhere on Broadway he received a Drama Desk Award and Tony nomination for his splendid Henry Higgins in a revival of "My Fair Lady" in 1976, and was part of the cast of the short-lived (12 performances) production of "Lolita" (1981), written by Edward Albee and starring Donald Sutherland as Humbert Humbert.
Customary of many talented Scots, Richardson would find his best on-camera roles in plush, intelligent TV mini-series. On the Shakespearean front he appeared in TV adaptations of As You Like It (1963), All's Well That Ends Well (1968) and Much Ado About Nothing (1978). After delivering highly capable performances as Field-Marshal Montgomery in both Churchill and the Generals (1979) and Ike: The War Years (1979), Sherlock Holmes in The Hound of the Baskervilles (1983), and Indian Prime Minister Nehru in Masterpiece Theatre: Lord Mountbatten - The Last Viceroy (1986), he capped his small-screen career in the role of the immoral politician Francis Urquhart in a trio of dramatic satires: House of Cards (1990), To Play the King (1993) and The Final Cut (1995). His impeccably finely-tuned villain became one his best remembered roles.
Filmwise, Richardson's stature did not grow despite polished work in Brazil (1985), Cry Freedom (1987), Rosencrantz & Guildenstern Are Dead (1990), M. Butterfly (1993), Dark City (1998), and the lightweight mainstream fare B*A*P*S (1997) and 102 Dalmatians (2000). He appeared less and less on stage in his later years. He took his final stage bows in 2006 with West End productions of "The Creeper" and "The Alchemist".
The urbane 72-year-old actor died unexpectedly in his sleep at his London abode on February 9, 2007, survived by his widow Maroussia Frank (his wife from 1961 and an RSC actress who played an asylum inmate alongside him in "Marat-Sade") and two sons, one of whom, Miles Richardson, has been a resident performer with the RSC.- Actor
- Producer
- Soundtrack
Richard Jenkins was born on 4 May 1947 in DeKalb, Illinois, USA. He is an actor and producer, known for The Shape of Water (2017), The Visitor (2007) and Step Brothers (2008). He has been married to Sharon R. Friedrick since 23 August 1969. They have two children.- Actor
- Producer
Stanley Baker was unusual star material to emerge during the Fifties - when impossibly handsome and engagingly romantic leading men were almost de rigueur. Baker was forged from a rougher mould. His was good-looking, but his features were angular, taut, austere and unwelcoming. His screen persona was taciturn, even surly, and the young actor displayed a predilection for introspection and blunt speaking, and was almost wilfully unromantic. For the times a potential leading actor cast heavily against the grain. Baker immediately proved a unique screen presence - tough, gritty, combustible - and possessing an aura of dark, even menacing power.
Stanley Baker came from rugged Welsh mining stock - and as a lad was unruly, quick to flare, and first to fight. But like his compatriot and friend Richard Burton, the young Baker was rescued from a gruelling life of coal mining by a local teacher, Glyn Morse, who recognized in the proud and self-willed lad a potent combination of a fine speaking voice, a smouldering intensity, and a strong spirit. And like Burton, Stanley Baker was specially and specifically tutored for theatrical success. In fact, early on, Burton and Baker appeared together on stage as juveniles in The Druid's Rest, in Cardiff, in Wales. But later, by way of Birmingham Repertory Theatre and then the London stage, Stanley Baker charted his inevitable course toward the Cinema.
Film welcomed the adult Baker as the embodiment of evil. Memorable early roles cast the actor in feisty unsympathetic parts - from the testy bosun in Captain Horatio Hornblower (1951) to his modern-day counterpart in The Cruel Sea (1953), to the arch villains in Hell Below Zero (1954) and Campbell's Kingdom (1957) to the dastardly Mordred in Knights of the Round Table (1953) and the wily Achilles in Helen of Troy (1956). For a time there was a distillation of Baker's screen persona in a series of roles as stern and uncompromising policemen - in Violent Playground (1958), Chance Meeting (1959), and Hell Is a City (1960). But despite never having been cast as a romantic leading man, and being almost wholly associated with villainous roles, Stanley Baker nevertheless became a star by dint of his potent personality.
Although now enthroned by enthusiastic audiences Stanley Baker was obviously aware he need not desert unsympathetic parts - and his relish in playing the scheming Astaroth in Sodom and Gomorrah (1962) and the unscrupulous mobster Johnny Bannion in The Concrete Jungle (1960) was readily evident. But soon there were more principled, if still surly characters, in The Guns of Navarone (1961), The Games (1970), Eva (1962), and Accident (1967), the latter two films reuniting Baker with the American expatriot director of The Criminal, Joseph Losey. Stanley Baker also established a fruitful working relationship with the American director Cy Endfield, following their early collaboration on Hell Drivers (1957). When Baker inaugurated his own film production company - it was Endfield he commissioned to write and direct both Zulu (1964) and Sands of the Kalahari (1965), with Baker allotting himself the downbeat roles of the martinet officer John Chard in Zulu and the reluctant hero Mike Bain in The Sands Of The Kalahari.
Baker must have felt more assured in disenchanted roles - as further films from Baker's own stable still promoted the actor in either criminal or villainous mode - as gangster Paul Clifton in Robbery (1967) and the corrupt thief-taker Jonathan Wild in Where's Jack? (1969). The success of Baker's own productions was timely and did much to enhance the prestige of what was then considered an ailing British film industry. Stanley Baker also took the opportunity to move into the realm of television, appearing in, among other productions, the dramas The Changeling (1974) and Robinson Crusoe (1974), and also in the series How Green Was My Valley (1975).
Knighted in 1976 it was evident that Stanley Baker may well have continued to greater heights, both as an actor and a producer, but he succumbed to lung cancer and died at the early age of forty-eight. But his legacy is unquestioned. He was a unique force on screen, championing characterizations that were not clichéd or compromised. He established his own niche as an actor content to be admired for peerlessly portraying the disreputable and the unsympathetic. In that he was a dark mirror, more accurately reflecting human frailty and the vagaries of life than many of his more romantically or heroically inclined contemporaries. There have forever been legions of seemingly interchangeable charming and virile leading men populating the movies - but Stanley Baker stood almost alone in his determination to be characterized and judged by portraying the bleaker aspects of the human condition. Consequently, more than twenty-five years after his death, his sombre, potent personality still illuminates the screen in a way few others have achieved.- Actor
- Cinematographer
- Editor
John Cazale was born in Boston, Massachusetts, to an Irish-American mother, Cecilia (Holland), and an Italian-American father, John Cazale. Cazale made only five feature films in his career, which fans and critics alike call classics. But before his film debut, in the short The American Way (1962), he won Obie Awards for his off-Broadway performances in "The Indian Wants the Bronx" and "The Line".
Cazale scored the role of Fredo Corleone in Francis Ford Coppola's The Godfather (1972), after his long-time friend, Al Pacino, invited him to audition. He reprised his role as the troubled Fredo in The Godfather Part II (1974), where his character endures one of the most infamous movie moments in the history of cinema.
Cazale also starred with Gene Hackman and Harrison Ford in the thriller, The Conversation (1974), as Hackman's assistant, Stan. The Godfather's director, Francis Ford Coppola, also directed the movie.
Cazale's fourth feature film, Dog Day Afternoon (1975), earned him a Golden Globe nomination for Best Supporting Actor for his role as Sal, a bank robber. His long-time friend and Godfather costar, Al Pacino, played his partner, Sonny.
His final film, The Deer Hunter (1978), was filmed whilst he was ill with cancer. He was in a relationship with his costar, Meryl Streep, whilst filming The Deer Hunter (1978), whom he met when they both appeared in the New York Public Theater's 1976 production of Shakespeare's Measure for Measure.
Controversy occurred during the filming. While the studio was unaware of his condition, the director, Michael Cimino, knew about it. As Cazale was evidently weak, he was forced to film his scenes first. When the studio discovered he was suffering from cancer, they wanted him removed from the film. His costar and girlfriend, Meryl Streep, threatened to quit if he was fired. He died shortly after filming was completed.- Actor
- Writer
- Director
Kari Väänänen was born on 17 September 1953 in Ivalo, Finland. He is an actor and writer, known for Taivaan tulet (2007), Night on Earth (1991) and Lakeuden kutsu (2000). He is married to Terhi Väänänen. They have one child. He was previously married to Sanna Fransman and Susanna Roine.- Actor
- Writer
- Director
During 1956-60 Hans Alfredson worked at Sveriges Radio together with Tage Danielsson. They wrote, directed and starred in several revues 1962-1982. As a director and scriptwriter for the screen Alfredson tried many different genres. He had his greatest critical successes with Ägget är löst! En hårdkokt saga (1975) and The Simple-Minded Murderer (1982), which got the Silver Bear and Best Actor award for Stellan Skarsgård at the Berlin Film Festival and the film also was awarded with two Guldbaggar. Some of his best acting performances he did in Jonas Cornell's Grisjakten (1970), Anders Lönnbro's Sista budet (1981) and his own The Simple-Minded Murderer (1982). Alfredson has also written many books, some for children such as "Blommmig falukorv och andra bitar" (1965) and "Varför är det så ont om Q?" (1968). At first Alfredson only was known as a great comedian but later the dark sides has been more prominent, for example in the books "En ond man" (1980) (for which he adapted the screenplay for The Simple-Minded Murderer (1982) from.) and "Tiden är ingenting (1981).- Roman Madyanov was born on 22 July 1962 in Dedovsk, Istrinskiy rayon, Moskovskaya oblast, RSFSR, USSR [now Russia]. He is an actor, known for Leviathan (2014), 12 (2007) and Dikoe pole (2008). He has been married to Natalya Madyanova since 1992. They have one child.
- Actor
- Producer
- Writer
Timothy Leonard Spall is an award-winning classical character actor who was born on February 27, 1957, and raised in London. The son of blue-collar parents, Joseph L. Spall, a postal worker, and Sylvia R. (Leonard), a hairdresser, his interest in acting happened early and Spall auditioned and earned a spot with the National Youth Theatre.
The young actor showed great promise at RADA where he portrayed the title roles in "Macbeth" and "Othello." In 1979 he joined the Royal Shakespeare Company and stayed for approximately two years performing in such plays as "The Merry Wives of Windsor," "Cymbeline," "The Three Sisters," "Nicholas Nickleby" and "The Knight of the Burning Pestle." With other rep companies, he appeared in, among others, "The Merchant" and "St. Joan."
Making his minor debut in a filmed version of the play The Life Story of Baal (1978), Tim went on to play featured roles in offbeat films such as Quadrophenia (1979), Remembrance (1982), The Missionary (1982), The Bride (1985), Body Contact (1987), Crusoe (1988), To Kill A Priest (1988), Dream Demon (1988) and 1871 (1990)
In the 1990's, Timothy surged forward largely through his association with prolific writer/director Mike Leigh, appearing in a number of his award-winning, working-class features. Those included his doomed chef Aubrey in Life Is Sweet (1990); brother/uncle Maurice in Secrets & Lies (1996) (BAFTA Award nomination); the vulnerable performer Richard Temple in the Gilbert & Sullivan biopic Topsy-Turvy (1999) (another BAFTA nomination); and the benign taxi driver Phil in All or Nothing (2002). He also worked for other noted directors including Ken Russell in Gothic (1986), Clint Eastwood in White Hunter Black Heart (1990), Bernardo Bertolucci in The Sheltering Sky (1990), and Kenneth Branagh in Hamlet (1996) (as Rosenkrantz).
Tim impressed on the small screen as well during this time, accentuated by his starring work on series TV as the luckless Frank Stubbs Promotes (1993) as well as the comedies Nice Day at the Office (1994) and Outside Edge (1994), and his BAFTA-nominated TV roles in Our Mutual Friend (1998), Shooting the Past (1999) and Vacuuming Completely Nude in Paradise (2001).
A battle with myeloid leukemia sharply curtailed Tim's momentum for a time, but he returned healthy into the millennium in superb lead and support form to create arguably his most hissable cinematic character. As the cowardly, half-blooded wizard Peter Pettigrew, Tim inhabited the role in several of the nine "Harry Potter" blockbusters from Harry Potter and the Prisoner of Azkaban (2004) to Harry Potter and the Deathly Hallows: Part 2 (2011). He also earned superb notices as: one of the charitable Cheeryble brothers in Nicholas Nickleby (2002); gullible banker Mr. Poe in the wild Jim Carrey adventure comedy A Series of Unfortunate Events (2004); humorous Simon Graham in the Tom Cruise starrer The Last Samurai (2003); evil queen henchman Nathaniel in the delightful Disney film Enchanted (2007); the villainous Beadle in the dark musical Sweeney Todd: The Demon Barber of Fleet Street (2007); the over-anxious lawyer starring role in the family dramedy Reuniting the Rubins (2010); Sir Winston Churchill in The King's Speech (2010); werewolf hunter Sid in the horror comedy Love Bite (2012); eccentric painter J.M.W. Turner portrait in Mike Leigh's Mr. Turner (2014) (Cannes, London Critics Circle, New York Critics Circle and National Society of Film Critics winner); the co-lead with Juno Temple in the social drama Away (2016); legal combatant David Irving in the Holocaust-themed Denial (2016); part of an upper-class couple (opposite Kristin Scott Thomas in the dark social comedy The Party (2017); a syndicated boss in The Corrupted (2019); and as artist L.S. Lowry opposite Vanessa Redgrave playing his mother in the biopic Mrs Lowry & Son (2019).
Tim's more recent notable TV outings have included his Fagin in the mini-series version of the Dickens classic Oliver Twist (2007), the title role in the TV-movie The Fattest Man in Britain (2009), and as Eddie in the series The Street (2006), Lord Blandings in the comedy Blandings (2013) and Lord Wallington in the dramatic mini-series Summer of Rockets (2019).
The father of three children, one of his children, Rafe Spall, is a prolific actor in his own right.- Actor
- Producer
- Soundtrack
Ernest Borgnine was born Ermes Effron Borgnino on January 24, 1917 in Hamden, Connecticut. His parents were Anna (Boselli), who had emigrated from Carpi (MO), Italy, and Camillo Borgnino, who had emigrated from Ottiglio (AL), Italy. As an only child, Ernest enjoyed most sports, especially boxing, but took no real interest in acting. At age 18, after graduating from high school in New Haven, and undecided about his future career, he joined the United States Navy, where he stayed for ten years until leaving in 1945. After a few factory jobs, his mother suggested that his forceful personality could make him suitable for a career in acting, and Borgnine promptly enrolled at the Randall School of Drama in Hartford. After completing the course, he joined Robert Porterfield's famous Barter Theatre in Abingdon, Virginia, staying there for four years, undertaking odd jobs and playing every type of role imaginable. His big break came in 1949, when he made his acting debut on Broadway playing a male nurse in "Harvey".
In 1951, Borgnine moved to Los Angeles to pursue a movie career, and made his film debut as Bill Street in The Whistle at Eaton Falls (1951). His career took off in 1953 when he was cast in the role of Sergeant "Fatso" Judson in From Here to Eternity (1953). This memorable performance led to numerous supporting roles as "heavies" in a steady string of dramas and westerns. He played against type in 1955 by securing the lead role of Marty Piletti, a shy and sensitive butcher, in Marty (1955). He won an Academy Award for Best Actor for his performance, despite strong competition from Spencer Tracy, Frank Sinatra, James Dean and James Cagney. Throughout the 1950s, 1960s and 1970s, Borgnine performed memorably in such films as The Catered Affair (1956), Ice Station Zebra (1968) and Emperor of the North (1973). Between 1962 and 1966, he played Lt. Commander Quinton McHale in the popular television series McHale's Navy (1962). In early 1984, he returned to television as Dominic Santini in the action series Airwolf (1984) co-starring Jan-Michael Vincent, and in 1995, he was cast in the comedy series The Single Guy (1995) as doorman Manny Cordoba. He also appeared in several made-for-TV movies.
Ernest Borgnine has often stated that acting was his greatest passion. His amazing 61-year career (1951 - 2012) included appearances in well over 100 feature films and as a regular in three television series, as well as voice-overs in animated films such as All Dogs Go to Heaven 2 (1996), Small Soldiers (1998), and a continued role in the series SpongeBob SquarePants (1999). Between 1973 until his death, Ernest was married to Tova Traesnaes, who heads her own cosmetics company. They lived in Beverly Hills, California, where Ernest assisted his wife between film projects. When not acting, Ernest actively supported numerous charities and spoke tirelessly at benefits throughout the country. He has been awarded several honorary doctorates from colleges across the United States as well as numerous Lifetime Achievement Awards. In 1996, Ernest purchased a bus and traveled across the United States to see the country and meet his many fans. On December 17, 1999, he presented the University of North Alabama with a collection of scripts from his film and television career, due to his long friendship with North Alabama alumnus and actor George Lindsey (died May 6, 2012), who was an artist in residence at North Alabama.
Ernest Borgnine passed away aged 95 on July 8, 2012, at Cedars-Sinai Medical Center in Los Angeles, California, of renal failure. He is survived by his wife Tova, their children and his younger sister Evelyn (1926-2013)- David Bradley was born on 27 September 1953 in Barnsley, South Yorkshire, England, UK. He is an actor, known for Kes (1969), Zulu Dawn (1979) and Redemption (2013).
- Actor
- Writer
- Director
David Thewlis was born David Wheeler in 1963 in Blackpool, Lancashire, to Maureen (Thewlis) and Alec Raymond Wheeler, and lived with his parents above their combination wallpaper and toy shop during his childhood. Originally, he came to London with his band Door 66, however he changed his plans and entered Guildhall School of Drama.
He had minor roles in films and TV until he took the main role in Naked (1993). The film won him several awards including the New York Critics Award. He has since been in many other films including DragonHeart (1996), Restoration (1995), Black Beauty (1994) and he took the part of Professor Remus John Lupin in Harry Potter and the Prisoner of Azkaban (2004) and its sequels.
Recently, he starred in the third season of FX's Fargo (2014).
He lived with the British actress Anna Friel from 2001-2010. They have a daughter, Gracie Ellen Mary, born July 9, 2005.- Actor
- Writer
- Stunts
Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.- Actor
- Writer
- Director
Joseph Frank Keaton was born on October 4, 1895 in Piqua, Kansas, to Joe Keaton and Myra Keaton. Joe and Myra were Vaudevillian comedians with a popular, ever-changing variety act, giving Keaton an eclectic and interesting upbringing. In the earliest days on stage, they traveled with a medicine show that included family friend, illusionist Harry Houdini. Keaton himself verified the origin of his nickname "Buster", given to him by Houdini, when at the age of three, fell down a flight of stairs and was picked up and dusted off by Houdini, who said to Keaton's father Joe, also nearby, that the fall was 'a buster'. Savvy showman Joe Keaton liked the nickname, which has stuck for more than 100 years.
At the age of four, Keaton had already begun acting with his parents on the stage. Their act soon gained the reputation as one of the roughest in the country, for their wild, physical antics on stage. It was normal for Joe to throw Buster around the stage, participate in elaborate, dangerous stunts to the reverie of audiences. After several years on the Vaudeville circuit, "The Three Keatons", toured until Keaton had to break up the act due to his father's increasing alcohol dependence, making him a show business veteran by the age of 21.
While in New York looking for work, a chance run-in with the wildly successful film star and director Roscoe 'Fatty' Arbuckle, resulted in Arbuckle inviting him to be in his upcoming short The Butcher Boy (1917), an appearance that launched Keaton's film career, and spawned a friendship that lasted until Arbuckle's sudden death in 1933. By 1920, after making several successful shorts together, Arbuckle moved on to features, and Keaton inherited his studio, allowing him the opportunity to begin producing his own films. By September 1921, tragedy touched Arbuckle's life by way of a scandal, where he was tried three times for the murder of Virginia Rapp. Although he was not guilty of the charges, and never convicted, he was unable to regain his status, and the viewing public would no longer tolerate his presence in film. Keaton stood by his friend and mentor through out the incident, supporting him financially, finding him directorial work, even risking his own budding reputation offering to testify on Arbuckle's behalf.
In 1921, Keaton also married his first wife, Natalie Talmadge under unusual circumstance that have never been fully clarified. Popular conjecture states that he was encouraged by Joseph M. Schenck to marry into the powerful Talmadge dynasty, that he himself was already a part of. The union bore Keaton two sons. Keaton's independent shorts soon became too limiting for the growing star, and after a string of popular films like One Week (1920), The Boat (1921) and Cops (1922), Keaton made the transition into feature films. His first feature, Three Ages (1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization.
At the height of his popularity, he was making two features a year, and followed Ages with Our Hospitality (1923), The Navigator (1924) and The General (1926), the latter two he regarded as his best films. The most renowned of Keaton's comedies is Sherlock Jr. (1924), which used cutting edge special effects that received mixed reviews as critics and audiences alike had never seen anything like it, and did not know what to make of it. Modern day film scholars liken the story and effects to Christopher Nolan Inception (2010), for its high level concept and ground-breaking execution. Keaton's Civil War epic The General (1926) kept up his momentum when he gave audiences the biggest and most expensive sequence ever seen in film at the time. At its climax, a bridge collapses while a train is passing over it, sending the train into a river. This wowed audiences, but did little for its long-term financial success. Audiences did not respond well to the film, disliking the higher level of drama over comedy, and the main character being a Confederate soldier.
After a few more silent features, including College (1927) and Steamboat Bill, Jr. (1928), Keaton was informed that his contract had been sold to MGM, by brother-in-law and producer Joseph M. Schenck. Keaton regarded the incident as the worst professional mistake he ever made, as it sent his career, legacy, and personal life into a vicious downward spiral for many years. His first film with MGM was The Cameraman (1928), which is regarded as one of his best silent comedies, but the release signified the loss of control Keaton would incur, never again regaining his film -making independence. He made one more silent film at MGM entitled Spite Marriage (1929) before the sound era arrived.
His first appearance in a film with sound was with the ensemble piece The Hollywood Revue of 1929 (1929), though despite the popularity of it and his previous MGM silents, MGM never allowed Keaton his own production unit, and increasingly reduced his creative control over his films. By 1932, his marriage to Natalie Talmadge had dissolved when she sued him for divorce, and in an effort to placate her, put up little resistance. This resulted in the loss of the home he had built for his family nicknamed "The Italian Villa", the bulk of his assets, and contact with his children. Natalie changed their last names from Keaton to Talmadge, and they were disallowed from speaking about their father or seeing him. About 10 years later, when they became of age, they rekindled the relationship with Keaton. His hardships in his professional and private life that had been slowly taking their toll, begun to culminate by the early 1930s resulting in his own dependence on alcohol, and sometimes violent and erratic behavior. Depressed, penniless, and out of control, he was fired by MGM by 1933, and became a full-fledged alcoholic.
After spending time in hospitals to attempt and treat his alcoholism, he met second wife Mae Scrivens, a nurse, and married her hastily in Mexico, only to end in divorce by 1935. After his firing, he made several low-budget shorts for Educational Pictures, and spent the next several years of his life fading out of public favor, and finding work where he could. His career was slightly reinvigorated when he produced the short Grand Slam Opera (1936), which many of his fans admire for giving such a good performance during the most difficult and unmanageable years of his life.
In 1940, he met and married his third wife Eleanor Norris, who was deeply devoted to him, and remained his constant companion and partner until Keaton's death. After several more years of hardship working as an uncredited, underpaid gag man for comedians such as the Marx Brothers, he was consulted on how to do a realistic and comedic fall for In the Good Old Summertime (1949) in which an expensive violin is destroyed. Finding no one who could do this better than him, he was given a minor role in the film. His presence reignited interest in his silent films, which lead to interviews, television appearances, film roles, and world tours that kept him busy for the rest of his life.
After several more film, television, and stage appearances through the 1960s, he wrote the autobiography "My Wonderful World of Slapstick", having completed nearly 150 films in the span of his ground-breaking career. His last film appearance was A Funny Thing Happened on the Way to the Forum (1966) which premiered seven months after Keaton's death from the rapid onset of lung cancer. Since his death, Keaton's legacy is being discovered by new generations of viewers every day, many of his films are available on YouTube, DVD and Blu-ray, where he, like all gold-gilded and beloved entertainers can live forever.- Actor
- Director
Georg Årlin was born on 30 December 1916 in Karlskrona, Blekinge län, Sweden. He was an actor and director, known for Cries & Whispers (1972), Fanny and Alexander (1982) and Gøngehøvdingen (1961). He died on 27 June 1992 in Lövestad, Sjöbo, Skåne län, Sweden.- Born in Armagh, Northern Ireland, Patrick Magee is a classic example of how certain actors rate the stage far more highly than the screen. He was a favorite actor of Samuel Beckett, one of whose greatest plays, 'Krapp's Last Tape', was written specifically for him. He did outstanding work on film, most notably in Stanley Kubrick's A Clockwork Orange (1971) as the crippled writer Mr. Alexander, and in Kubrick's Barry Lyndon (1975), as the chevalier. He also appeared in Joseph Losey's The Servant (1963), Peter Brook's Marat/Sade (1967) and William Friedkin's The Birthday Party (1968). He also appeared in films by such cult directors as Roger Corman, Lucio Fulci and Walerian Borowczyk.
- Actor
- Director
- Writer
Daniel Auteuil was born on 24 January 1950 in Algiers, Alger, France [now Algeria]. He is an actor and director, known for Caché (2005), Jean de Florette (1986) and The Well-Digger's Daughter (2011). He has been married to Aude Ambroggi since 22 July 2006. They have one child. He was previously married to Emmanuelle Béart and Anne Jousset.- Actor
- Producer
- Director
Leslie Howard Steiner was born in London to Lilian (Blumberg) and Ferdinand "Frank" Steiner. His father was a Hungarian Jewish immigrant, and his English mother was of German Jewish and mostly English descent. Leslie went to Dulwich College, then worked as a bank clerk until the outbreak of World War I, when he went into the army. In 1917, diagnosed as shell-shocked, he was invalided out and advised to take up acting as therapy. In a few years, his name was famous on the stages of London and New York. He made his first movie in 1914: (The Heroine of Mons (1914)). He became known as the perfect Englishman (slim, tall, intellectual, and sensitive), a part that he played in many movies which set women to dreaming about him. His first sound movie came out in 1930: Outward Bound (1930), an adaptation of the stage play in which he starred. In Never the Twain Shall Meet (1931) and Smilin' Through (1932), he played the Englishman role to the hilt. His screen persona could perhaps best be summed up by his role as Sir Percy Blakeney in The Scarlet Pimpernel (1934), a foppish society gentleman.
It was Howard who insisted that Humphrey Bogart get the role of Duke Mantee in The Petrified Forest (1936), a role that Bogart had played in the stage production. As he became more successful, he also became quite picky about which roles he would do, and usually performed in only two films a year. In 1939, he played the character that will always be associated with him, that of Ashley Wilkes, the honor-bound, disillusioned intellectual Southern gentleman, in Gone with the Wind (1939).
However, war clouds were gathering over England, and he devoted all his energy on behalf of the war effort. He directed films, wrote articles and made radio broadcasts. He died in 1943, when the KLM plane he was in was shot down by German fighters over the Bay of Biscay.- Actor
- Producer
- Additional Crew
Mark Rylance was born in Ashford, Kent, the son of Anne (née Skinner) and David Waters, both English teachers. His grandmother was Irish. His parents moved to Connecticut in 1962 and Wisconsin in 1969, where his father taught English at the University School of Milwaukee. Rylance attended this school. He starred in most of the school's plays with the theatre's director, Dale Gutzman, including the lead in a 1976 production of Hamlet. He played Romeo in the school's production of Romeo and Juliet.
Mark was the first artistic director of Shakespeare's Globe in London, from 1995 to 2005. Rylance made his professional debut at the Citizens Theatre, Glasgow in 1980. He went on to win the Olivier Award for Best Actor for Much Ado About Nothing in 1994 and Jerusalem in 2010, and the Tony Award for Best Actor in a Play for Boeing Boeing in 2008 and Jerusalem in 2011. He won a third Tony Award in 2014 for Twelfth Night. On television, he won the BAFTA TV Award for Best Actor for his role as David Kelly in the 2005 Channel 4 drama The Government Inspector and was nominated for an Emmy, Golden Globe, Screen Actors Guild Award and BAFTA TV Award for playing Thomas Cromwell in the 2015 BBC Two miniseries Wolf Hall.
In 2007, Rylance performed in Boeing-Boeing in London. In 2008, he reprise the role on Broadway and won Drama Desk and Tony Awards for his performance. In 2009, Rylance won the Critics' Circle Theatre Award Best Actor, 2009 for his role of Johnny Byron in Jerusalem written by Jez Butterworth at the Royal Court Theatre in London. In 2010, Rylance starred in a revival of David Hirson's verse play La Bête. The play ran first at London's Comedy Theatre before transferring to the Music Box Theatre on Broadway, on 23 September 2010. Also in 2010, he won another Olivier award for best actor in the role of Johnny Byron in Jerusalem at the Apollo Theatre in London. In 2011, he won his second Tony Award for playing the same role in the Broadway production. He played Thomas Cromwell in Wolf Hall (2015), BBC Two's adaptation of Hilary Mantel's historical novels Wolf Hall and Bring Up the Bodies. For his performance, he was nominated for the Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie. Rylance was featured as the castaway on the BBC radio program Desert Island Discs on 15 February 2015.
Rylance co-starred in the biographical drama Bridge of Spies, released in October 2015, directed by Spielberg, and starring Tom Hanks, Amy Ryan and Alan Alda. The film is about the 1960 U-2 Incident and the arrest and conviction of Soviet spy, Rudolf Abel and the exchange of Abel for U-2 pilot Gary Powers. Rylance plays Abel and has received unanimous universal acclaim for his performance with many critics claiming it as the best performance of 2015. The St. Louis Post-Depatch quoted, "As the deeply principled Donovan, Hanks deftly balances earnestness and humor. And Rylance's spirited performance is almost certain to yield an Oscar nomination." David Edelstein from New York cited 'It's Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic - the irony being his forthright refusal to deceive in a world founded on lies." Rylance won the Academy Award, BAFTA Award, and New York Film Critics Circle Award in the Best Supporting Actor categories, as well as receiving Golden Globe Award and Screen Actors Guild Award nominations, among other wins and nominations.- Actor
- Producer
- Writer
James Mason was born in Huddersfield and had a film career spanning over 50 years during which he appeared in over 100 films in England and America but never won an Oscar. Whatever role he played, from the wounded Belfast gunman in Odd Man Out to Rommel in The Desert Fox, his creamy velvet voice gave him away. Like Charlie Chaplin James left the screen to spend his later life living in Switzerland. His first marriage had been to Pamela Kellino, a Yorkshire mill owner's daughter and his second to Australian actress Clarissa Kaye.- Actor
- Writer
- Producer
Widely regarded as one of the greatest stage and screen actors both in his native Great Britain and internationally, Toby Edward Heslewood Jones was born on September 7, 1966 in Hammersmith, London. His parents, Freddie Jones and Jennie Heslewood, are actors as well. Toby has two brothers: Rupert, a director, and Casper, a fellow actor. He studied Drama at the University of Manchester from 1986 to 1989, and at L'École Internationale de Théâtre in Paris under Jacques Lecoq in Paris from 1989 to 1991. Naturally, his career began on the stage (and continues there), but film and television roles came soon after his studies.
Toby made his film debut with a small role in Sally Potter's experimental take on Virginia Woolf's novel, Orlando (1992), starring Tilda Swinton. Other small film roles included the doorkeeper in Les Misérables (1998) and a memorable turn as the Royal Page in Ever After: A Cinderella Story (1998) with Drew Barrymore.
Roles in the acclaimed Victoria & Albert (2001) and the Helen Mirren-starring Elizabeth I (2005) were balanced with film work, from his voice role as Dobby the House Elf in Harry Potter and the Chamber of Secrets (2002) to supporting appearances in Ladies in Lavender (2004) (co-starring his father, Freddie), Finding Neverland (2004) and Mrs. Henderson Presents (2005).
He continued stage work during this period, appearing on Broadway in The Play What I Wrote in 2003, a year after winning the Laurence Olivier Theatre Award for Best Actor in a Supporting Role for his performance in the London production.
Infamous (2006), directed by Douglas McGrath and released in 2006, was Toby's first starring role. His acclaimed portrayal of Truman Capote remained mostly in the shadow of Philip Seymour Hoffman's Oscar-winning performance of the author in 2005's Capote (2005).
A steady stream of film roles followed with appearances in Amazing Grace (2006), The Painted Veil (2006), Nightwatching (2007), The Mist (2007), and St. Trinian's (2007). Toby then appeared in three successive films that could have been commercial breakthroughs: kid-lit flop City of Ember (2008), the Oscar-nominated Frost/Nixon (2008), and Oliver Stone's W. (2008).
He reprised the voice-role of Dobby in Harry Potter and the Deathly Hallows: Part 1 (2010), appeared in the St. Trinian's sequel, as well as the Charles Darwin biopic Creation (2009) and Dustin Lance Black's post-Milk (2008) directorial outing, Virginia (2010). More Hollywood roles followed with appearances in The Rite (2011), Your Highness (2011), and his first big live-action breakthrough as Red Skull's biochemist Dr. Arnim Zola in Captain America: The First Avenger (2011).
Even before Toby was announced as Claudius Templesmith in the adaptation of the novel The Hunger Games (2012), his star was on the rise after Captain America, with roles in three Oscar-nominated films: Tinker Tailor Soldier Spy (2011), My Week with Marilyn (2011), and The Adventures of Tintin (2011). Though chances are he will forever be known by many as Claudius, the announcer for The Hunger Games with the booming voice and penchant for ending his statements with the phrase, "And may the odds be ever in your favor!"
Toby followed up this massive success with his mesmerizing tour-de-force interpretations as a sensational multifarious "chameleon" of substantial acting mastery in films such as Red Lights (2012) for Buried (2010) director Rodrigo Cortés, Snow White and the Huntsman (2012), The Hunger Games: Catching Fire (2013) reprising his role as Claudius Templesmith, Peter Strickland's Berberian Sound Studio (2012), Susanne Bier's Serena (2014) and Journey's End (2017). Among others, The Girl (2012), a BBC/HBO co-production in which he starred as Alfred Hitchcock, Titanic (2012), The Secret Agent (2016), Wayward Pines (2015), The Witness for the Prosecution (2016) and Sherlock (2010) are also included in the brilliant performances of his exquisite TV work.
Toby lives in London with his family.- Actor
- Director
- Writer
Despite being one of the finest actors of his generation, Peter Finch will be remembered as much for his reputation as a hard-drinking, hell-raising womanizer as for his performances on the screen. He was born in London in 1916 and went to live in Sydney, Australia, at the age of ten. There, he worked in a series of dead-end jobs before taking up acting, his film debut being in the mediocre comedy The Farmer Goes to Town (1938). He made his stage debut as a comedian's stooge in 1939. Laurence Olivier spotted him and persuaded him to return to Britain to perform classic roles on the stage. Finch then had an affair with Olivier's wife, Vivien Leigh. Despite being married three times, Finch also had highly-publicized affairs with actresses Kay Kendall and Mai Zetterling. Finch soon switched to film after suffering appalling stage fright. As a screen actor, he won five BAFTA awards and his talent was beyond doubt. His two finest roles, the only two for which he received Oscar nominations, were as the homosexual Jewish doctor in Sunday Bloody Sunday (1971) and as the "mad prophet of the air-waves" in Network (1976). He died a couple of months before being awarded the Oscar for Best Performance by an Actor in a Leading Role in Network (1976) and was the first actor to have won the award posthumously.