|Date of Birth||20 May 1908, Indiana, Pennsylvania, USA|
|Date of Death||2 July 1997, Los Angeles, California, USA (cardiac arrest and pulmonary embolism following respiratory problems)|
|Birth Name||James Maitland Stewart|
|Height||6' 3" (1.91 m)|
Mini Bio (2)
James Maitland Stewart was born on 20 May 1908 in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English, descent.
Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor. In 1929 he won a place at Princeton, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players.
After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it wasn't until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), he worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the U.S. Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the U.S. Air Force Reserve after the war and retired in 1959 as a brigadier general.
Stewart's acting career took off properly after the war. During the course of his long professional life he had roles in some of Hollywood's best remembered films, starring in a string of Westerns (bringing his "everyman" qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance) thrillers (most notably his frequent collaborations with Alfred Hitchcock) and even some screwball comedies .
He continued to work into the 1990s and died at the age of 89 in 1997.
- IMDb Mini Biography By: Anonymous
James Stewart was nominated for five Academy Awards, winning one in competition for The Philadelphia Story (1940) and receiving an Academy Lifetime Achievement award. Stewart was named the third greatest male screen legend of the Golden Age Hollywood by the American Film Institute. He was a major Metro-Goldwyn-Mayer contract star. He also had a noted military career and was a World War II and Vietnam War veteran, who rose to the rank of Brigadier General in the United States Air Force Reserve.
Stewart's collaborations with director Anthony Mann increased Stewart's popularity and sent his career into the realm of the western. Stewart's first appearance in a film directed by Mann came with the 1950 western, Winchester '73 (1950). In choosing Mann (after first choice Fritz Lang declined), Stewart cemented a powerful partnership. The film, which became a massive box-office hit upon its release, set the pattern for their future collaborations. In it, Stewart is a tough, revengeful sharpshooter, the winner of a prized rifle which is stolen and then passes through many hands, until the showdown between Stewart and his brother (Stephen McNally).
Other Stewart-Mann westerns, such as Bend of the River (1952), The Naked Spur (1953), The Far Country (1954) and The Man from Laramie (1955), were perennial favorites among young audiences entranced by the American West. Frequently, the films featured Stewart as a troubled cowboy seeking redemption, while facing corrupt cattlemen, ranchers and outlaws-a man who knows violence first hand and struggles to control it. The Stewart-Mann collaborations laid the foundation for many of the westerns of the 1950s and remain popular today for their grittier, more realistic depiction of the classic movie genre. Audiences saw Stewart's screen persona evolve into a more mature, more ambiguous, and edgier presence.
Stewart and Mann also collaborated on other films outside the western genre. 1954's The Glenn Miller Story (1954) was critically acclaimed, garnering Stewart a BAFTA Award nomination, and (together with The Spirit of St. Louis) cemented the popularity of Stewart's portrayals of 'American heroes'. Thunder Bay, released the same year, transplanted the plot arc of their western collaborations to a more contemporary setting, with Stewart as a Louisiana oil driller facing corruption. Strategic Air Command (1955), released in 1955, allowed Stewart to use his experiences in the United States Air Force on film.
Stewart's starring role in Winchester '73 (1950) was also a turning point in Hollywood. Universal Studios, who wanted Stewart to appear in both that film and Harvey (1950), balked at his $200,000 asking price. His agent, Lew Wasserman, brokered an alternate deal, in which Stewart would appear in both films for no pay, in exchange for a percentage of the profits as well as cast and director approval. Stewart ended up earning about $600,000 for Winchester '73 alone. Hollywood's other stars quickly capitalized on this new way of doing business, which further undermined the decaying "studio system".
The second collaboration to define Stewart's career in the 1950s was with acclaimed mystery and suspense director Alfred Hitchcock. Like Mann, Hitchcock uncovered new depths to Stewart's acting, showing a protagonist confronting his fears and his repressed desires. Stewart's first movie with Hitchcock was the technologically innovative 1948 film Rope (1948), shot in long "real time" takes.
The two collaborated for the second of four times on the 1954 hit Rear Window (1954), widely considered one of Hitchcock's masterpieces. Stewart portrays photographer L.B. "Jeff" Jeffries, loosely based on Life photographer Robert Capa, who projects his fantasies and fears onto the people he observes out his apartment window while on hiatus due to a broken leg. Jeffries gets into more than he can handle, however, when he believes he has witnessed a salesman (Raymond Burr) commit a murder, and when his glamorous girlfriend (Grace Kelly), at first disdainful of his voyeurism and skeptical about any crime, eventually is drawn in and tries to help solve the mystery. Limited by his wheelchair, Stewart is led by Hitchcock to react to what his character sees with mostly facial responses. It was a landmark year for Stewart, becoming the highest grossing actor of 1954 and the most popular Hollywood star in the world, displacing John Wayne. Hitchcock and Stewart formed a corporation, Patron Inc., to produce the film, which later became the subject of a Supreme Court case Stewart v. Abend (1990).
After starring in Hitchcock's remake of the director's earlier production, The Man Who Knew Too Much (1956), with Doris Day, Stewart starred, with Kim Novak, in what many consider Hitchcock's most personal film, Vertigo (1958). The movie starred Stewart as John "Scottie" Ferguson, a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing. Scottie's obsession inevitably leads to the destruction of everything he once had and believed in. Though the film is widely considered a classic today, Vertigo met with very mixed reviews and poor box-office receipts upon its release, and marked the last collaboration between Stewart and Hitchcock.
- IMDb Mini Biography By: Pedro Borges
|Gloria Stewart||(9 August 1949 - 16 February 1994) (her death) (2 children)|
Trade Mark (8)
Personal Quotes (42)
|Art Trouble (1934)||$50 /day|
|The Murder Man (1935)||$350 /week|
|Rose-Marie (1936)||$350 /week|
|Next Time We Love (1936)||$350 /week|
|Wife vs. Secretary (1936)||$350 /week|
|Important News (1936)||$350 /week|
|Small Town Girl (1936)||$350 /week|
|Speed (1936)||$350 /week|
|The Gorgeous Hussy (1936)||$350 /week|
|Born to Dance (1936)||$350 /week|
|After the Thin Man (1936)||$350 /week|
|Seventh Heaven (1937)||$350 /week|
|The Last Gangster (1937)||$350 /week|
|Navy Blue and Gold (1937)||$350 /week|
|Of Human Hearts (1938)||$350 /week|
|Vivacious Lady (1938)||$350 /week|
|The Shopworn Angel (1938)||$350 /week|
|You Can't Take It with You (1938)||$350 /week|
|Made for Each Other (1939)||$350 /week|
|The Ice Follies of 1939 (1939)||$350 /week|
|The Philadelphia Story (1940)||$3,000 /week|
|Winchester '73 (1950)||$600,000|
|Harvey (1950)||$200,000 + % net profits|
|The Greatest Show on Earth (1952)||$50,000|
|The Shootist (1976)||$50,000|
|Right of Way (1983)||$250,000|