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- Australian former actress/high-fashion model/Stylist Virginia Hey was diagnosed with Stage 4 Non-Hodgkin's Lymphoma DLBCL cancer in June 2022, which is cancer of the lymphatic system. It metastasized/spread into her bones, causing the destruction of a large part of her tibia bone in her right leg. Miss Hey was being treated by the incredible British NHS and underwent 6 cycles of R-CHOP chemotherapy which was completed in December 2022.
In December 2022 Miss Hey was in remission! However her NHS Haematologist specialist said that during an earlier biopsy they found the CD5+ marker, which indicates that her stage 4 cancer is even more aggressive and sneaky than they thought. This means that the cancer will most definitely come back, with a limited lifespan within 6 to 15 months.
So in order to elongate her lifespan to 1-5 years, they offered Miss Hey powerful LACE chemotherapy, followed by a Stem Cell Transplant.
The procedure is a specialized cancer treatment administered by the British NHS using her own stem cells which the hospital collected in January 2023.
Miss Hey had another PET CT scan in March which showed that she was still in remission.
The Stem Cell Transplant procedure was carried out in a London hospital March/April 2023 with a recovery period of between four months and one year for the immune system to regrow.
Miss Hey was finally getting back on her feet, out of a wheelchair and learning to walk again, albeit with two crutches. She had a follow-up PET CT scan November 27th 2023 to check that the procedure was successful. Unfortunately the specialists discovered from the PET scan that her cancer had in fact come back.
Unfortunately all the Chemotherapys and the Stem Cell Transplant were not completely successful, although she was in remission for quite a few months. Miss Heys cancer is extremely aggressive, and although the cancer was pushed back by all the chemotherapy, unfortunately some of the cancer simply hid/hibernated during the procedures and then came back sometime between April and November 2023. This time the Cancer came back in her left leg, from her ankle all the way to her abdomen. With a large tumor sitting against her left iliac bone, and in several places in her abdomen and hip.
December 2023 This time the NHS specialists wanted to try Radiotherapy to treat the relapsed cancer.
January 29th 2024 till April 12th 2024, Miss Hey embarked on radical radiotherapy treatment to her entire left leg and left abdomen.
If her cancer does not respond to the Radiotherapy the specialists have said that they will try a new antibody treatment, immunotherapy, that is available on the NHS in selected cases.
Miss Hey is in good spirits as usual, she has remained in good spirits all the way throughout this dreadful battle. Always a smile and cheekiness with a glint in her eyes!
Miss Hey is extremely grateful to the brilliant NHS and all the teams of doctors and specialists and nurses who have been looking after her. It is extraordinary how generous and untiring they are. She owes her life to the Fabulous NHS!
Fingers crossed and prayers that the radiation/immunotherapy works! Miss Hey hopes to be able to attend a handful of Comiccons in 2024 if possible. Obviously her long locks are gone, a byproduct of so much Chemotherapy. However her hair has started to grow. Virginia has not resorted to wigs, but sports caps which suit her face well.
Bio: Miss Hey is a very private person who is remarkable in her late 60s; however, her appearance is that of a stylish, elegant woman in her 50s! Miss Hey remarks that her height, strength, sharp mind, and good genes come from her father, and her extraordinary bone structure, artistic talent, and elegance from her mother. Miss Hey also attributes her good health in her 60s to the importance of maintaining well-being and staying trim, keeping an active mind, and exercising regularly. In her disco-and-heels era, she smoked and socially drank, like everyone back then, but in 1990, Miss Hey made health and well-being her main priority, studying naturopathy and changing her lifestyle.
Virginia literally sparkles when she enters a room! George Miller, the director of Mad Max 2, said that Virginia has an energy that pours from her that cannot be manufactured. He said she has the ''it'' factor! Miss Hey didn't ever take advantage of that factor; she preferred to pursue art and natural medicine. Her modeling and acting jobs, she says, funded her studies.
She confesses to sometimes feeling awkward and shy, lacking in confidence. (a mere mortal after all!) However, she stated that in her youth she had to develop a kind of ''site-specific extrovert'' quality in order to work and socialize. (Comedian Robin Williams coined the phrase ''site-specific extrovert'' when describing himself.) In her 60s, she has reverted to a more mellow being, who now lives to explore art and gentle pursuits. Miss Hey would be the perfect dinner party companion, mellow, and sparkling with a fascinating history.
Virginia is now retired and has settled back in London after 40 years.
Virginia Hey, a devotee of health and well-being, is best known for her roles on TV and film, however all throughout her adult life Virginia has had varied interests, mainly centered around well-being, style, and design.
She pursued her passion for studying natural therapies, naturopathy, reiki, nutrition, and homeopathy, and most recently had her own business designing and hand-making luxury highly styled candles, perfume, and soap. Miss Hey also loves fashion and style and in the '90s was a fashion editor/stylist for two magazines in Australia.
About: Born in Sydney, Australia, Miss Hey was educated in private Catholic convent schools in Sydney and London, a boarding school for a year, and then went on to study fine art at Kogragh, Sydney. Virginia spent many years as a child in England; her mother and father transported the whole family over to further the children's education, and every school holiday was spent exploring museums, art galleries, and places of exquisite culture and architecture. At the time, Miss Hey was between ages nine and 14, so her very first independent thoughts in that important growth period were formed from such exquisite art and beauty she experienced. No wonder Miss Hey is an incurable romantic.
As an adult, she divided her time and education between her hometown and London. Virginia has an extensive bio and a 40-year track history with the entertainment, fashion, natural health, and beauty industry in Australia and the UK.
Her career in front of the camera started as a fashion model whilst she was attending a fine arts diploma course in Sydney, Australia. It seemed that as soon as she stepped one foot outside her home as a 19-year-old, she was pursued by the modeling and TV industry. She had astonishing good looks when she was young. Miss Hey soon found herself snapped up by high-fashion magazines and TV ads.
It was at the beginning of her career that she was invited to take a role in The Buggles video clip for ''Video Killed the Radio Star'' in London in 1979. Australian director Russell Mulcahey cast Virginia, having seen her fashion modeling and TV ad career in Australia. The song went to number one on the charts all over the world, and the video was acclaimed as the very first MTV video clip.
Virginia was also invited to be a part of the Buggles' European TV promotional tour of their number-one hit, and she performed with them as one of the backing singers on music TV shows in several countries. She also appeared on the UK's Top of The Pops in October 1979, and again in the Christmas Top of the Pops show in December 1979.
Miss Hey's acting debut was less than a year later, back in Sydney, with Mel Gibson in the film classic Mad Max 2: The Road Warrior (1981) (aka "Mad Max 2: The Road Warrior") as the main-cast character Warrior Woman.
Since then, Ms. Hey has also appeared with numerous international stars, including George C. Scott in Mussolini, Heath Ledger in Roar, James Bond 007 Timothy Dalton in The Living Daylights, and Christopher Atkins in Signal One. One of the shining lights of her career was playing the iconic blue priestess Zhaan, a main-cast character in Farscape (1999-2004).
In the '80s and '90s, Virginia used her public spotlight to bring attention to environmental issues, natural health, and beauty regimes and was a regular popular fun guest on Australian chat shows, which led her in turn to begin teaching health, nutrition, beauty, and meditation during her 40-year career in the public eye.
In the mid-to-late '90s in between acting roles, due to her past at art school and as a supermodel, Virginia was in demand as a freelance fashion and still-life stylist and then became a fashion editor in Sydney for "For Me" and "Bride to Be" magazines until she stepped into the iconic acting role of Zhaan on Farscape, for which she was nominated as Best Support Actress for a Saturn Award.
Miss Hey was brought to the USA in 2001 on the wave of Farscape fan frenzy. Miss Hey received her Alien of Extraordinary Ability green card in 2002 and settled in Santa Monica, California.
While she was in the USA, Virginia worked further on her design skills. Having made perfumes for herself for 30 years, Miss Hey was convinced by thousands of fans at conventions across the US to offer her perfume publicly. For 19 years, Virginia worked tirelessly on two exquisite candle and perfume lines, White Flower Lei and Virginia Hey Couture, both launched in Fred Segal Los Angeles.
In May 2012, she embarked on an appearance tour of the UK for three years and eventually settled permanently back in the UK, where she had spent much of her childhood and was based off and on in the '70s and '80s. Miss Hey lived in Scotland and Wiltshire for a few years, then in late 2019, moved back to London.
Fan Favourite: Virginia, being a fan favorite at Comic-Con appearances due to her friendly, chatty disposition and extensive bio in TV and film, traveled extensively doing appearance dates at Comic-Cons each month throughout the UK, with occasional visits back to the USA to greet fans at Comic-Con appearances. She has been a celebrity guest at hundreds of personal appearances at conventions all over the world.
Royalties: Contrary to popular belief, Australian actors do not receive residuals or royalties for their Australian screen work. This is astonishing if, like Miss Hey, the actor's list of credits is extensive and almost every job is a commercial hit worldwide. This means that over 40 years royalties and residuals generated from 20 productions, all big long-running successes, should have generated millions for Miss Hey.
Alas, all actors working in Australian productions, including Miss Hey, are paid just once for the job. And actors' fees in Australia are nowhere near those of USA and UK actors. All royalties in the actors' names go to the producers. This is written into all actors' contracts. The only exception is if the actor works on a SAG USA film/TV production within Australia, for example, The Matrix. However, nearly all productions within Australia have Australian Actors Union contacts which stipulate that all royalties and residuals are paid to the producers. The Australian Actors Union are fighting hard to reform this. It is an ongoing debate.
This is why you'll see Australian successful actors with multiple careers, unlike their fellow USA actors, who can literally retire on ONE TV commercial's residuals! Miss Hey had lead roles in 57 Australian TV ads, 17 commercial TV series, and eight commercial films. (Additionally, she has acted in a few noncommercial productions for friends over the years. These she does not refer to as commercial.)
July 2020: Miss Hey is single, retired, and living happily and peacefully in London, stating her favorite places in London as the V&A, Primrose Hill, and Chelsea Physic Garden. To stay fit, Virginia loves walking in London's beautiful parks and gardens, does a spot of gardening at home, and attends a Zumba Gold class and two strength classes a week. - Writer
- Producer
- Director
Baz Luhrmann is an Australian writer, director and producer with projects spanning film, television, opera, theater, music and recording industries. He is regarded by many as a contemporary example of an auteur for his distinctly recognizable style and deep involvement in the writing, directing, design and musical components of all his work. As a storyteller, he 's known as a pioneer of pop culture, fusing high and low culture with a unique sonic and cinematic language. He is the most commercially successful Australian director, with his films making up four of the top ten highest worldwide grossing Australian films ever.
During his studies at Australia's National Institute of Dramatic Art, Luhrmann collaborated with other students to create ''Strictly ballroom'', a stage production drawn from his childhood experiences in the world of ballroom dancing. Luhrmann later adapted the show into his 1992 film debut, Strictly Ballroom (1992), which premiered at Cannes to a fifteen-minute standing ovation. Thus began the ''Red Curtain Trilogy'', which would include the film Romeo + Juliet (1996) as well as the Oscar-winning Moulin Rouge! (2001). The latter also took home Golden Globes for Best Picture, Best Actress, and Best Original Score. This first body of work was capped by Luhrmann's 2002 Broadway adaptation of the opera ''La Bohème'', recognized by two Tony Awards.
In 2004, Luhrmann collaborated once more with actress Nicole Kidman to create No. 5 The Film, a short film featuring the iconic Chanel perfume, as well as costumes designed by Karl Lagerfeld. With its success, the piece ushered in a new era of fashion advertising and became a landmark in the evolution of branded content. In 2008, Luhrmann worked with Kidman for a third time on the ambitious epic Australia (2008), the titular country's second-highest grossing film of all time. He later adapted F. Scott Fitzgerald's ''The Great Gatsby'' into a 2013 film, The Great Gatsby (2013), which went on to become the director's highest-grossing movie at over $353 million worldwide. The film was awarded with two Oscars and earned praise from Fitzgerald's granddaughter, who noted that "Scott would have been proud". The film's soundtrack pulled the Roaring 20s into the 2000s, blending early 20th century jazz with contemporary hip-hop. The album, produced by Luhrmann, Anton Monsted, and Jay-Z, hit number one on the Billboard charts and garnered several Grammy nominations.
Most recently, Luhrmann created The Get Down (2016), a 2016 Netflix series and 1970s-set mythic saga of how the South Bronx, at the brink of bankruptcy, gave birth to hip-hop, punk and disco. In the interest of cultural authenticity and historical accuracy Luhrmann collaborated with some of the era's most legendary artists, including [linl=nm0334739], Kool Herc, Afrika Bambaataa, Nas, Kurtis Blow, and Hector Xtravaganza. The show was a critical success, certified fresh by Rotten Tomatoes, and described by Variety as "a reclamation of, and a love letter to, a marginalized community of a certain era, told through the unreliable tools of romance, intuition and lived experiences."
Add further information about Elvis film release here. Needs to be in his bio.- Sadie began performing in musical theatre when she was seven. Favorite past roles include Alice in "Alice In Wonderland" (2008) at the El Portal, Belle in "Beauty And The Beast" (2008) at The Barnsdall Theatre, Sharpay in "High School Musical" (2009) and Tallulah in "Bugsy Malone" (2011) both at the Madrid Theatre and Christina in Crown City Theatre's four week run of "A Chicago Christmas Carol" (2010). Her professional career began with a guest star appearance on Chris Elliot's Eagleheart in the summer of 2010, followed by a co-star role on NCIS as William Devane's kidnapped granddaughter for which she received a YAA best actress nomination. Sadie made her big screen debut as Leonardo DiCaprio's niece in the Clint Eastwood bio-epic "J. Edgar." Other credits include a couple of pilots, guest star appearances on "Kickin' It" and "Crash & Bernstein" and a recurring role on "Melissa & Joey." Sadie still spends her summers at Stagedoor Manor, the acclaimed New York theatre intensive whose alumni include Jon Cryer, Natalie Portman, and Shawn Levy. Sadie is also the National Spokesperson for Bags4Kids, an organization that provides comfort items and support for distressed foster children. Sadie is dedicated to developing her craft and also to her academic education. Sadie also studies ballet, jazz, voice, and was formerly a competitive gymnast, taking home the gold medal in floor in July 2009 at the 2010 California State Games in San Diego. Sadie is most well known for her role as Violet, Anna Faris' teenage daughter in the new Chuck Lorre comedy, "Mom" (2013) on CBS. Sadie lives Los Angeles, California with her mother, father, Piper, her cat and her adorable dog, Benji. Calvano is represented by Paradigm and Silver Linings Entertainment.
- Actress
- Writer
- Director
In one word, Persia White is prolific. An actress, musician, producer and animal rights activist, she is best known for her lead in the popular CW series "Girlfriends." Driven by her passion to change the world, Persia co-produced the award winning documentary film "Earthlings" narrated by Joaquin Phoenix, and is involved in the series "Whale Wars" on Animal Planet. Persia is a Board Member of the Humane Society of the United States as well as the Sea Shepherd Conservation Society. She is the co-founder of Echoed Images, a new production company whose mission is to create conscious, world-changing media.
Puerto Rican, African-American and Irish, Persia was born in south Florida. As begins the biography of many an artist, Persia spent he first two months of her life in a musical instrument case; in this instance: an upright bass case. Her mother was a compassionate schoolteacher, writer and civil-rights activist and moved the family to the Bahamas for work. Persia's early life was enmeshed with lush tropical landscapes, multi-cultural exposure and Reggae. When Persia was eight the family moved back to the United States and settled in Miami, FL. It's here that Persia began her acting career. Already an accomplished ballet dancer, Persia knew she wanted to try theater. While walking down the street with her mother, Persia was spotted by a talent scout for the now world-renown Coconut Grove Children's Theater. Upon seeing her, the scout asked, "Are you an actress?" Persia immediately said, "Yes!" She has been a non-stop performer since that day, delving into musical theater, new forms of dance, acting, modeling, singing, playing instruments and even branching out into painting, a passion of her's to this day.
Persia actually intended to be a singer before an actress. When she moved to Los Angeles, she turned down several album deals due to the lack of creative control offered in the contracts. Persia explains, "When I make music I want it to be honest and to be me. I wanted to wait and do it the way I felt it should be in my heart." She focused on building her acting career, and garnered the role she is most known for, Lynn Searcy on The CW's "Girlfriends," Girlfriends was the #1 TV show of in African American homes for over 8 years as well as a leading show all women ages 14-42. She also has a repertoire of guest star credits from some of the most popular shows on television, as well as leads in feature films. In 2010, Persia will star in "Spoken Word," directed by Victor Nunez. Through this, Persia still developed her music on the backburner. She has worked with great artists such as Gary Wallis of Pink Floyd, Dominique Miller of Sting, Jerome Dillon of Nine Inch Nails, and Big Bio of Outcast, as well as written soundtrack music for three Independent films and three songs for the Girlfriends soundtrack. On October 25, 2009, her birthday, Persia debuted her first solo album MECCA, a sprawling, twelve track journey, combining a number of genres, including electronica and trip-hop and including elements of blues and prog-rock. The album features collaborations with ex-fiancé Saul Williams, Tricky and Ric Alien. The overall album was produced by Persia herself, mixed by the legendary Dave Way and mastered by (BigBass) Brian Gardner.
Persia's success as an artist and public figure are all fueled by the desire to make change in the world. A passionate animal rights activist since she was twelve, Persia has devoted her life to raising the consciousness of the public on issues of animal cruelty. As an artist, as an advocate and as a person, Persia strives to reach further and deeper and bring all that she finds to light.- Actress
- Additional Crew
- Soundtrack
Veteran film and television actress Leslie Bega can now be seen co-starring as Valentina La Paz on the HBO Emmy Award winning television series The Sopranos (1999), Tony Soprano's girlfriend. In addition, Leslie also can be seen as a diametrically opposite character to Valentina named Leah on CBS's Emmy Award winning show CSI: Crime Scene Investigation (2000). Leslie recently completed a starring role in the independent feature film Dating Games People Play (2005), a romantic comedy directed by Stefan Marc. The film is scheduled for release in late 2004. A Los Angeles native, Leslie spent a great deal of her childhood in New York. After graduating with honors as her high school class valedictorian from 11 years at the prestigious Los Angeles private French school Le Lycee Francais, she attended college at The University of Southern California majoring in cinema with a minor in drama. Making her acting debut at the age of six in the Broadway play "The Patriots," Leslie went on to star in countless television commercials and then moved into episodic and film. Throughout this time in her childhood, she was sharpening her skills and establishing a solid foundation to her successful career as an actor. In the late 1980s, Leslie landed a starring role in the long running top-ten ABC television sitcom Head of the Class (1986), portraying the brilliant yet socially awkward Maria Borges. Her follow-up television series was ABC's C-16: FBI (1997) alongside Eric Roberts, Angie Harmon, and 'DB Sweeney'. Leslie quickly went on to establish herself in the Motion Picture arena, sharing the screen with such Hollywood stars as John Travolta, Michael Douglas, Annette Bening, and Anthony Quinn. Leslie has been in 15 motion pictures including David Lynch's Lost Highway (1997), Get Shorty (1995), directed by Barry Sonnenfeld, and Rob Reiner's The American President (1995). After 19 years of vocal/singing training, in 2001, Leslie performed a solo singing performance at Lincoln Center. She recently completed producing Public Service Announcements for "Women At Risk" with actors Billy Zane and Phil Buckman; and "Outreach," educational programs designed for inner city kids. In her spare time, Leslie is an accomplished gourmet chef, and was the Master Chef at the restaurant "RAW" in Santa Monica before leaving to work on her own desert and food line.- Actress
- Soundtrack
This enigmatic Stockholm-born beauty had everything going for her, including a rapidly rising film and TV career. Yet on April 30, 1970, at only 35, Inger Stevens would become another tragic Hollywood statistic -- added proof that fame and fortune do not always lead to happiness. Over time, a curious fascination, and perhaps even a morbid interest, has developed over Ms. Stevens and her life. What exactly went wrong? A remote, paradoxical young lady with obvious personal problems, she disguised it all with a seemingly positive attitude, an incredibly healthy figure and a megawatt smile that wouldn't quit. Although very little information has been filtered out about Ms. Stevens and her secretive life over the years, William T. Patterson's eagerly-anticipated biography, "The Farmer's Daughter Remembered: The Biography of Actress Inger Stevens" (2000), finally put an end to much of the mystery. But not quite all. The book claims that a large amount of previously-published information about Ms. Stevens is either untrue or distorted.
A strong talent and consummate dramatic player of the late 50s and 60s, she was born Inger Stensland, the eldest of three children, of Swedish parentage. A painfully shy and sensitive child, she was initially drawn to acting as a girl after witnessing her father perform in amateur theater productions. Her rather bleak childhood could be directed at a mother who abandoned her family for another man when Inger was only 6. Her father moved to the States, remarried, and eventually summoned for Inger and a younger brother in 1944 to join him and his new bride. Family relations did not improve. As a teenager, she ran away from home and ended up in a burlesque chorus line only to be brought home by her father. After graduation and following some menial jobs here and there, she moved to New York and worked briefly as a model while studying at the Actors Studio. She broke into the business through TV commercials and summer stock, rising in the ingénue ranks as a guest in a number of weekly series.
Often viewed as the beautiful loner or lady of mystery, an innate sadness seemed to permeate many of her roles. Inger made her film debut at age 22 opposite Bing Crosby in Man on Fire (1957). Serious problems set in when Inger began falling in love with her co-stars. Broken affairs with Crosby, James Mason, her co-star in Cry Terror! (1958), Anthony Quinn, her director in Cecil B. DeMille's The Buccaneer (1958), and Harry Belafonte, her co-star in The World, the Flesh and the Devil (1959), left her frequently depressed and ultimately despondent. An almost-fatal New Year's day suicide attempt in 1959 led to an intense period of self-examination and a new resolve. A brief Broadway lead in "Roman Candle," an Emmy-nominated role opposite Peter Falk in Price of Tomatoes (1962), and popular appearances on such TV shows as Bonanza (1959), The Twilight Zone (1959) and Route 66 (1960) paved the way to a popular series as "Katy Holstrum," the Swedish governess, in The Farmer's Daughter (1963). This brisk, change-of-pace comedy role earned her a Golden Globe award and Emmy nomination, and lasted three seasons.
Now officially a household name, Inger built up her momentum once again in films. A string of parts came her way within a three-year period including the sex comedy A Guide for the Married Man (1967) as roving eye husband Walter Matthau's unsuspecting wife; Clint Eastwood's first leading film role in Hang 'Em High (1968); the crime drama, Madigan (1968) with Henry Fonda and Richard Widmark; the westerns Firecreek (1968) with Fonda again plus James Stewart, and 5 Card Stud (1968) opposite Dean Martin and Robert Mitchum; the political thriller House of Cards (1968) starring George Peppard and Orson Welles; and A Dream of Kings (1969) which reunited her with old flame Anthony Quinn. Although many of her co-starring roles seemed to be little more than love interest filler, Inger made a noticeable impression in the last movie mentioned, by far the most intense and complex of her film career. Adding to that mixture were a number of well-made TV mini-movies. On the minus side, she also resurrected the bad habit of pursuing affairs with her co-stars, which would include Dean Martin and, most notably, Burt Reynolds, her last.
In April of 1970, Inger signed on as a series lead in a crime whodunit The Most Deadly Game (1970) to be telecast that September. It never came to be. Less than a week later, she was found unconscious on the floor of her kitchen by her housekeeper and died en route to the hospital of acute barbiturate intoxication -- a lethal combination of drugs and alcohol. Yvette Mimieux replaced her in the short-lived series that fall. For all intents and purposes, Ms. Stevens' death was a suicide but Patterson's bio indicates other possibilities. Following her death, it came out in the tabloids that she had been secretly married to a Negro, Ike Jones, since 1961. The couple was estranged at the time of her death.- Actress
- Producer
Award-winning Canadian actress Susan Clark, born on March 8, 1943, took up acting at an early age (12) in her hometown of Sarnia, Ontario. Her family moved to Toronto around that period of time and she joined the Toronto Children's Players Theatre. Her first professional curtain call took place on the musical stage in a 1955 production of "Silk Stockings" which starred veteran actor Don Ameche.
The "acting bug" bit hard and a very determined Susan pressed her family to allow her to study at London's prestigious Royal Academy of Dramatic Arts. She gained valuable experience in repertory, making her London debut in "Poor Bitos" in the early 1960s. She even got a taste of on-camera work when she won multiple roles on a 1965 episode of The Benny Hill Show (1957). Returning to Canada, however, due to the illness of her father, she subsequently decided to trek, instead, to Los Angeles to continue her professional career. In search of on-camera work, she attracted notice in some guest roles on TV and this eventually led to a Universal contract. The ten-year contract was one of the last of its kind as Hollywood was witnessing the demise of the studio contract system.
After gaining some exposure on episodes of The Virginian (1962) and Run for Your Life (1965), Susan's first screen assignment for Universal was as the second female lead in the soap-styled drama Banning (1967) starring Robert Wagner, in one of his typical jet-setting playboy parts, and the scintillating Jill St. John, who would wed her "Banning" leading man two decades later. From there, Susan only grew in stature. Playing the second female lead again in the critically-praised crimer Madigan (1968) starring Richard Widmark and Inger Stevens, she finally earned top female billing opposite Clint Eastwood in Coogan's Bluff (1968) playing a sexy parole officer and enjoying romantic clinches with the up-and-coming film icon on film.
Tall and willowy with incandescent blue eyes, Susan continued to impress on celluloid with roles in Tell Them Willie Boy Is Here (1969), Valdez Is Coming (1971) and, in particular, Skin Game (1971). It was 70s TV-movies, however, that would take full advantage of Susan's vibrant, intelligent acting talents. First came the tender-hearted mini-movie Something for a Lonely Man (1968). While a vehicle for Bonanza's Dan Blocker, co-star Susan made a strong, spunky impression as his small-town romantic interest. This was followed by choice roles in The Challengers (1970) and The Astronaut (1972).
1975 was a banner year for Susan who not only provided a couple of excellent scenes as Gene Hackman's wife in the film-noir Night Moves (1975) but, made a resounding, Emmy-winning impression on TV audiences as feminist track-and-field Olympian-turned-golf star Babe Didrikson Zaharias, who is later felled by cancer, in the TV mini-bio Babe (1975). This was a pronounced victory for Susan both professionally and personally for it was on this set that she met her second husband, co-star Alex Karras, who played Babe's spouse George. Susan was in immediate demand and was quickly cast as another feisty, ill-fated heroine, this time in the form of famed aviatrix Amelia Earhart (1976). Predictably, Susan was wonderful and earned a second Emmy nomination for her efforts (she didn't win).
She and Karras (who had a child, Katie, in 1980) went on to jointly act in and/or produce various film and TV projects, including the TV movies Jimmy B. & André (1980), and Maid in America (1982), and the films Nobody's Perfekt (1981) and Porky's (1981). This culminated in their biggest collaborative effort with the sitcom series Webster (1983) wherein both were unmercifully upstaged by the hopelessly cute antics of its tyke star Emmanuel Lewis. While the series hardly tested the couple's acting mettle and the plot was pretty much a "Diff'rent Strokes" rehash, the show proved quite popular on its own and put Clark and Karras firmly on the TV map between 1983 to 1988. Susan, herself, earned a Golden Globe nomination for "Best Actress in a Comedy Series".
Following the sitcom' demise, Susan relinquished the limelight a bit and found contentment on the local Southern California stage. Relishing acting challenges in such wide-ranging plays as "Meetin's on the Porch" (1990) with Patty Duke and Carrie Snodgress, "Afterplay" (1998), "Bicoastal Women" (2003) and "The Importance of Being Earnest" (2004) (as Lady Bracknell), she eventually became a dedicated member of the Rubicon Theater Company in Los Angeles, gracing such plays there as "The Glass Menagerie", "Dancing at Lughnasa", "The Devil's Disciple" and, most recently, "A Delicate Balance."
Featured in the TV movies Snowbound: The Jim and Jennifer Stolpa Story (1994), Tonya & Nancy: The Inside Story (1994) and Toe Tags (1996), she was last seen on camera co-starring in the dramatic TV series Emily of New Moon (1998) as ever-rigid Aunt Elizabeth, who assists in raising her orphaned niece.
Susan has a daughter, Katie, by husband Karras who died of kidney failure in 2012.- In the early 1980s, this ruggedly handsome young American actor of Norwegian parentage was seen as the "next big thing", and then suddenly he was dead from an accident via a self-inflicted gunshot wound.
The son of Thorleif Hexum (born in Norway) and Gretha Paulsen (born in Minnesota), Jon-Erik Hexum was born and raised in Englewood, New Jersey, where he was a musically gifted student at school playing both the horn and the violin in the school orchestra, and even the piano at home. He then attended Case Western Reserve University in Cleveland, Ohio, before transferring across to Michigan State University studying bio-medical engineering and then switching over to philosophy. At MSU, Hexum played football, and DJ'd at several local radio stations under the name of "Yukon Jack", before being discovered by John Travolta's manager, Bob LeMond.
He reportedly turned down opportunities to appear in such shows as The Dukes of Hazzard (1979) and CHiPs (1977) and many day time soap operas before finally making his debut in the TV series Voyagers! (1982) as time traveler Phineas Bogg. He was then cast as hunk Tyler Burnett alongside Joan Collins in Making of a Male Model (1983), and then as ex-Green Beret Mac Harper in Cover Up (1984).
However, on October 12, 1984 after a long and draining day's shooting on the set of Golden Opportunity (1984), Hexum became bored with the extensive delays and jokingly put a prop .44 magnum revolver to his temple and pulled the trigger. The gun fired, and the wadding from the blank cartridge shattered his skull, whereupon the mortally injured Hexum was rushed via ambulance to Beverly Hills Medical Center to undergo extensive surgery. Despite five hours of work, the chief surgeon, Dr. David Ditsworth, described the damage to Hexum's brain as life-ending. One week later, on October 18th, he was taken off life support and pronounced dead. However, Hexum's commitment to organ donation meant five other lives were assisted or saved with organs harvested from him. He was 26 years old. - Music Artist
- Actress
- Composer
LeAnn started singing at age 3, and has sold over 20 million records since. She was born August 28, 1982 in Jackson, Mississippi. By age 7, LeAnn made her stage debut in a Dallas musical production of "A Christmas Carol". Later, she would sing "The Star Spangled Banner" to open Dallas Cowboys football games. By age 11, LeAnn recorded her first album on an independent label only available in local stores in Dallas: "All That" which featured her signature song "Blue". This got the attention of Curb Records. In 1996, 14-year-old LeAnn recorded a major-label album. In 1997, LeAnn released "You Light Up My Life: Inspirational Songs" which debuted on 3 Billboard Magazine charts at the same time: Pop, Country, and Contemporary Christian (that had never been achieved before by a country singer). That year, LeAnn released "How Do I Live" which would set a record by staying #1 on Billboard Magazine's "Hot 100" chart for 69 weeks. LeAnn starred in the TV-movie Holiday in Your Heart (1997), based on a book which she had co-authored. Capping a great year for the 15-year-old LeAnn, she won an American Music Award, 2 Grammy awards, 3 Academy of Country Music Awards, and 4 Billboard Music Awards. In 1998, LeAnn won a Lone Star Film & Television Special Award for Rising Star Actress. In 1999, LeAnn released a namesake CD, offering her interpretations of 11 Country standards, including "Crazy" and "I Fall to Pieces" (originally recorded by Patsy Cline in 1960). LeAnn made a cameo in Coyote Ugly (2000) (the low budget movie that raked in big bucks) and she also recorded 4 Diane Warren songs, including "Can't Fight the Moonlight", for the movie soundtrack. An amazing career and, since she is only 18, I am sure there will have to be mini-bio updates in the future.- Elizabeth Hunter splits her time between Atlanta and New York, where she attends NYU Tisch School of Drama. Elizabeth made her theatrical film debut in Clint Eastwood's musical bio-drama Jersey Boys as the young Francine Valli, daughter of Frankie Valli. Her television roles include recurring characters on The Big Door Prize, Nashville, Finding Carter, Hart of Dixie, and Powers.
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John Sturges was an American film director, mostly remembered for his outstanding Western films. In 1992, Sturges was awarded a Golden Boot Award for his lifelong contribution to the Western genre.
Sturges was born in the village of Oak Park, Illinois, within the Chicago metropolitan area. By 1930, the village had a population of 64,000 people.
Sturges started his film career in 1932, as a film editor. During World War II, he started directing documentaries and training films for the United States Army Air Forces.
Sturges made his directing debut in 1946, in the drama film "The Man Who Dared" (1946) by the studio Columbia Pictures. The film's protagonist frames himself for murder, in order to prove that innocent people may be convicted by circumstantial evidence. His next film project was the film noir "Shadowed" (1946), about a corpse being found in a golf club, and how an innocent man finds his life threatened by a gang leader. Sturges' last film of the year was the crime drama "Alias Mr. Twilight" (1946), about an elderly con-artist who uses his earnings to provide for his beloved granddaughter.
Sturges was entrusted with directing the third film in the then -popular Rusty film series, about the adventures of a German shepherd. The film was called "For the Love of Rusty" (1947), and introduced the new dog actor Flame. Flame portrayed Rusty in four of the eight Rusty films.
Sturges' next film project was "Keeper of the Bees" (1947), the third film adaptation of the 1925 novel by Gene Stratton-Porter (1863-1924). The film involved aging beekeeper Michael Worthington (played by Harry Davenport ) who recruits a nomadic painter and an orphan girl as his new employees. Despite a high-profile cast, the film is considered a lost film.
Sturges' last film of the year was the war documentary "Thunderbolt" (1947), concerning Operation Strangle (March 19-May 11, 1944). The aerial operation had American aircraft attacking German supply routes in Central Italy, in order to force the Germans to withdraw. The documentary included actual combat footage from the operation, and part of its profits was used to finance the Army Air Force Relief Society.
Sturges returned to the film noir genre with the film "The Sign of the Ram" (1948). The film's villain protagonist Leah St. Aubyn (played by Susan Peters) was depicted as an invalid woman with an obsessive desire to control and dominate the life of her family and friends, and going to extremes in order to achieve her goal.
Sturges next directed the historical drama "Best Man Wins", an adaptation of the short story "The Celebrated Jumping Frog of Calaveras County" (1865) by Mark Twain (1835-1910). The film depicts professional gambler Jim Smiley (played by Edgar Buchanan) trying to use his jumping frog Daniel Webster to win bets. He hopes to use his earnings to win back the love of his ex-wife, and to buy the love of his estranged son.
Sturges' first Western was "The Walking Hills" (1949), which used film noir tropes in a new setting. The film involves treasure hunters searching for a lost wagon train carrying gold bars. But many of the characters are hiding secrets, and a there is a manhunt for a wanted fugitive in the area.
Sturges had a critically successful film with the biographical film "The Magnificent Yankee", which dramatized the life of Oliver Wendell Holmes Jr. (1841-1935), Associate Justice of the Supreme Court of the United States from 1902 to 1932. The film was nominated for two Academy Awards, but won neither.
Sturges next projects included the film noir "The Capture" (1950), the film noir "Mystery Street" (1950), and the sports drama "Right Cross" (1950). His crime drama "Kind Lady" (1951) was a remake of a 1935 film with the same title, directed by George B. Seitz. In the film, wealthy art collector Mary Herries (played by Ethel Barrymore) allows painter Henry Springer Elcott (played by Maurice Evans) to move into her London house. But her new house-guest is planning to rob her.
Sturges' film noir "The People Against O'Hara" (1951) was a film noir with elements from courtroom drama. It was a box office hit, and had Sturges working with lead actor Spencer Tracy. Sturges was one of seven film directors who co-directed the anthology film "It's a Big Country", concerning life in the United States.
Sturges' biographical film "The Girl in White" (1952) dramatized the life of female surgeon Emily Dunning Barringer (1876-1961). The real-life Barringer was "the world's first female ambulance surgeon and the first woman to secure a surgical residency". Sturges returned to the film noir genre with "Jeopardy" (1953), an adaptation of a radio play by Maurice Zimm.
Sturges directed the sports comedy "Fast Company" (1953), about an exceptional race horse, and a struggle over its ownership. He returned to the Western genre with the American Civil War-themed film "Escape from Fort Bravo" (1953). In the film the prisoners confined in a Union prison camp attempt to escape. This color film used the Anscocolor process.
Sturges had a career highlight with the thriller film "Bad Day at Black Rock" (1955), which combined elements from both film noir and the Western. It involves a town hiding a secret, and mysterious stranger John J. Macreedy (played by Spencer Tracy) trying to uncover the elusive truth. Sturges was nominated for the Academy Award for Best Director, but the award was won instead by rival director Delbert Mann (1920-2007).
Sturges' next film project was the treasure-hunting themed adventure "Underwater!" (1955). His historical drama "The Scarlet Coat" (1955) dramatized the plot of military officer Benedict Arnold (1741-1801) to surrender West Point to the British Army during the American Revolutionary War. The film also dramatized the life of British spy John André (1750-1780).The film's American counterspy John Bolton was loosely based on historical spymaster Benjamin Tallmadge (1754-1835).
Sturges returned to the Western genre with popular films such as "Backlash" (1956), "Gunfight at the O.K. Corral" (1957), "The Law and Jake Wade" (1958), "Last Train from Gun Hill" (1959). He also directed the adventure drama "The Old Man and the Sea" (1958), an adaptation of the 1952 novella by Ernest Hemingway (1899-1961). For this film, Sturges once again worked with leading actor Spencer Tracy.
Sturges' World War II-themed war film "Never So Few" (1959), featured a cast of rising actors, such as Frank Sinatra, Gina Lollobrigida, and Steve McQueen,. Sturges had another career highlight with a film remake, the Western "The Magnificent Seven" (1960). It was a loose adaptation of the Japanese film "Seven Samurai" (1954) by Akira Kurosawa. The film under-performed in the United States, but was a smash hit in Europe, and very profitable for the film studio United Artists. It sold 89,118,696 tickets sold in overseas territories, and broke box office records in the United Kingdom and the Soviet Union. Kurosawa himself liked this adaptation, and the film received three sequels, two remakes of its own, and a television series adaptation.
Sturges' next film project included the law-firm drama "By Love Possessed" (1961), which included controversial themes such as rape, suicide, and embezzlement. Sturges next Western film was "Sergeants 3", loosely based on the poem "Gunga Din" (1890) by Rudyard Kipling (1865-1936). This film is mostly remembered as the " last film to feature all five members of the Rat Pack".
Sturges' next film was more sexually explicit: "A Girl Named Tamiko" (1962). Lead character Ivan Balin (played by Laurence Harvey) is a man who desperately wants to emigrate to the United States, and uses his sex-appeal to seduce women who may help him achieve his goal. His next war film was "The Great Escape" (1963) about prisoners of war trying to escape from Stalag Luft III. It was one of the highest-grossing films of its year of release.
Sturges directed his first science fiction film at age 55, and that film was "The Satan Bug" (1965). The film depicted the manufacture of bio-weapons, and their potential release against American major cities. Sturges also directed the Western comedy "The Hallelujah Trail" (1965), about a predicted harsh winter threatening the whiskey supply of a frontier town. He next directed a more serious Western, "Hour of the Gun" (1967). It was his second film about the Gunfight at the O.K. Corral (1881), but attempted to be more historically accurate than previous film depictions of the events.
Sturges' next film project was the Cold War thriller "Ice Station Zebra" (1968), loosely based on the missing experimental Corona satellite capsule (Discoverer II) which fell to Norway in 1959, and the efforts to recover it before it fell on Soviet hands. The film was mildly controversial, since it dramatized events that were still classified secret at the time of production. Sturges used former American agents as technical advisers.
Sturges' second science fiction film was Marooned (1969), depicting a potentially deadly accident affecting the Apollo program. Released at a time of high public interest on the Apollo program, it attracted an audience but was a box office flop. The film's visual effects expert won the Academy Award for Best Visual Effects.
Sturges partially directed the auto racing film "Le Mans" (1971), but quit before the film was completed. He was replaced by fellow director Lee H. Katzin (1935-2002). Sturges returned to the Western genre with the peasant-revolt themed "Joe Kidd" (1972). It featured bounty hunter Joe Kidd (played by Clint Eastwood) hunting down a Mexican revolutionary who is campaigning for land reform. The film is considered an example of the Revisionist Western, a more cynical take on the genre.
Sturges last Western was the Italian-produced "Chino" (1973). He returned to the film noir genre with the neo-noir "McQ" (1974), with lead character Lon "McQ" McHugh (played by John Wayne) being an aging police detective who is trying find out who was behind a failed attempt on his life. Sturges' last film was the war film "The Eagle Has Landed" (1976), depicting a German plot by Abwehr leader Wilhelm Canaris (1887-1945) to kidnap Winston Churchill. His last film was a box office hit in its own right.
Sturges retired from film directing at the age of 66. He continued living in retirement until his death in 1992. He was 82-years-old, and several of his film were finding retrospective critical acclaim.- Relatively new to Hollywood, handsome Robert Francis was a rising young actor and deemed California's "Golden Boy" on the verge of 1950's cinematic stardom, when on July 31 , 1955, he, along with two others, perished in a private plane crash just after takeoff in Burbank, California.
Robert Charles Francis was born on February 26, 1930, in Glendale, California, where his parents ran a family pharmacy. Growing up he showed early interests in art and in sports, particularly skiing. As a teen he attended Pasadena City College from 1946 to 1948 after completing the tenth grade at Wilson Junior High School. He graduated with a "junior college degree.
The teenager had major designs on becoming an Olympic skier (he was taught by his older brother and the young boy was a ski shop operator at one point). Fate stepped in, however, when he was spotted by a Hollywood talent scout while sunning near the Santa Monica pier. Told his handsome, likable, all-American looks could make a cinematic impression, he decided to take a chance and began signed up for acting classes.
A three-year stint in the U.S. Army (1950-1953) interrupted this progress but, following his discharge, he attended the Batomi Schneider Drama Workshop (Ms. Schneider was a Universal drama coach). Max Arnow, head talent at Columbia, took a liking to Robert and managed to set up a screen test for studio head Harry Cohn who was looking for fresh talent for an upcoming film The Caine Mutiny (1954). Though his inexperience showed through in the test, Robert's courteous but quiet intensity and manly inner rebellion sparked an certain interest in Cohn and the young man was signed to a contract.
Not only did Columbia give Robert the prime role of Ensign Willie Keith in The Caine Mutiny (1954), Bob held his own alongside a formidable group of male stalwarts including Humphrey Bogart, José Ferrer, Van Johnson and Fred MacMurray. His scenes also included a romantic subplot opposite dark-haired beauty May Wynn, who took her stage moniker from the character she played in this film. Robert, sporting the 1950s brush-cut standard of the day, was voted one of Screen World's "Promising Personalities of 1954" upon the successful release of the movie.
Clean-cut and athletic, the young actor continued to show exceptional poise and restraint in his next three co-leads as well, finding a strong niche as odd-man-out military types. Capitalizing on his promising debut, Robert was top-billed in the western They Rode West (1954) as a cavalry captain who bucks against the system and his captain Philip Carey as he selflessly tends to Indians during a malaria epidemic . His co-star, again, was Ms. Wynn again as well as the lovely Donna Reed.
Top-billed as well in his third film, The Bamboo Prison (1954), which was similar but not quite up to the Oscar-winning standards of Stalag 17 (1953) as it reveals the brutalities of POW life, Robert plays a Korean War POW sergeant who attempts to extract valuable information from his captors. He co-stars opposite Brian Keith, as a fellow POW corporal, who initially thinks (as do the other American POWs) that Robert is a traitor for "cooperating" with the enemy.
Robert's fourth and final film was a third-billed part as an ill-fated West Point cadet in the sentimental John Ford bio-drama The Long Gray Line (1955) starring Tyrone Power as a legendary Irish-born West Point sergeant and Maureen O'Hara his altruistic wife. The picture did well.
While Columbia was keen on propelling Robert to top-grade stardom, Robert was showing a strong, keen interest in aviation. At one point, this ill-fated passion put him into contact with eccentric producer/director/aviator billionaire Howard Hughes and the two men frequently went flying together, with young Francis often at the controls of Hughes' planes
Just two weeks before Robert was to start filming a loan-out picture, MGM's romantic western Tribute to a Bad Man (1956) starring James Cagney, Robert decided to pilot a Beechcraft Bonanza owned by friend and fellow actor Joe Kirkwood Jr.. Also on board would be Kirkwood's business partner, the Hollywood agent George Irving Meyer, 38, an experienced WW II pilot, and his lady friend, aspiring actress Audrey Ann Schneider (aka Ann Russell), 24. Immediately following their shaky takeoff from Lockheed Air Terminal in Burbank, the plane's engine sputtered and lost power. Francis, a still relatively inexperienced pilot, managed to avoid a crowd at nearby Valhalla Cemetery, and crashed into a parking lot where it burst into flames, killing all three instantly.
The 25-year-old actor was survived by his parents, James William and Lillian Warnock Francis, and an older brother and sister (Bill, Lillian). He was buried at Forest Lawn Memorial Park. Actor Don Dubbins was recast in the Cagney film. A tragic ending for such a promising young man who had a major career cruelly taken from him. - Born, and raised for a time, in Pelion, South Carolina, African-American actor Paul Benjamin was the youngest of twelve children of a Baptist preacher, the Reverend Fair Benjamin, and his wife Rosa. Paul lost his mother while still a baby and his father as a child. He moved to Columbia, South Carolina, where he was taken in by one of his older brothers, David, and his wife and family. Suppressing his teenage desires of becoming an actor due to social pressures, he attended C.A. Johnson High and, upon graduation, enrolled at Benedict College for about a year before deciding to move to New York City and pursue his dream.
Studying at the Herbert Berghof Studio, he finally made his professional stage debut in the late 1960s at the New York Shakespeare Festival Public Theater. His theater career quickly picked up steam with such classical and contemporary plays as "Hamlet" (1967), "Cities in Bezique (1969), "The Owl Answers" (1969), "No Place to Be Somebody" (1969), "The Year Boston Won the Pennant" (1969), "Camino Royal" 1970, "Operation Sidewinder" (1970), Boesman and Lena (1970), "The Black Terror" (1971), "Assassination 1865" (1971), "The Cherry Orchard" (1973) and "The Old Glory" (1976).
Benjamin made his film debut inauspiciously as a bartender in Midnight Cowboy (1969), which highlighted New York's seamier side. Following small roles in The Anderson Tapes (1971) and Born to Win (1971), he earned a top featured role and strong notices playing a robber-turned-killer in Across 110th Street (1972) co-starring Anthony Quinn and Yaphet Kotto, which again took place on the gritty New York streets. He then gave incisive, strong-armed portrayals as part of a gang in The Deadly Trackers (1973) and as a lieutenant alongside Tony Lo Bianco and Hal Linden in the above-average TV-movie Mr. Inside/Mr. Outside (1973). His film and TV career, which peaked in the 1970s, included the "blaxploitation" scene -- he appeared with Mary Alice as the parents of the titular character in The Education of Sonny Carson (1974) and as a senator in the Pam Grier vehicle Friday Foster (1975).
Throughout the decades he worked with prestigious actors in prestigious projects yet never attained the public attention he merited. Neverthless he added solid authenticity to the musical bio Leadbelly (1976); Clint Eastwood's Escape from Alcatraz (1979); the Richard Pryor comedy-drama Some Kind of Hero (1982); Barbra Streisand's courtroom vehicle Nuts (1987); Spike Lee's lacerating, one-two punch on urban black life in Do the Right Thing (1989); the Temptations-like story of The Five Heartbeats (1991); and the excellent, fact-based drama in Rosewood (1997) with racism at its core. On the mini-movie circuit he appeared in good company as LeVar Burton's father in the baseball story One in a Million: The Ron LeFlore Story (1978), and was a noticeable factor in Gideon's Trumpet (1980) starring Henry Fonda; Maya Angelou's I Know Why the Caged Bird Sings (1979); the hard-hitting The Atlanta Child Murders (1985) and, perhaps most notably, the chain-gang story The Man Who Broke 1,000 Chains (1987) in which he portrayed Big Sam.
His career slowed down broaching the millennium with sporadic appearances in such films as The Fence (1994), Rosewood (1997), Stanley's Gig (2000), The Station Agent (2003), Back to You in the Days (2005), The Talk Man (2011) and Occupy, Texas (2016). He also guested on such popular series as "Angel," "ER," "Law & Order" and "The Shield."
Paul the actor added to his success as an award-winning playwright as well and, in his 70s, continued to write as well as perform. His play "Carrier", in which he appeared with Roscoe Lee Browne and Paula Kelly, received special citations for its writing and performances. He died in Los Angeles at age 81 on June 28, 2019. - Director
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Carol Reed was the second son of stage actor, dramatics teacher and impresario founder of the Royal School of Dramatic Art Sir Herbert Beerbohm Tree. Reed was one of Tree's six illegitimate children with Beatrice Mae Pinney, who Tree established in a second household apart from his married life. There were no social scars here; Reed grew up in a well-mannered, middle-class atmosphere. His public school days were at King's School, Canterbury, and he was only too glad to push on with the idea of following his father and becoming an actor. His mother wanted no such thing and shipped him off to Massachusetts in 1922, where his older brother resided on--of all things--a chicken ranch.
It was a wasted six months before Reed was back in England and joined a stage company of Dame Sybil Thorndike, making his stage debut in 1924. He forthwith met British writer Edgar Wallace, who cashed in on his constant output of thrillers by establishing a road troupe to do stage adaptations of them. Reed was in three of these, also working as an assistant stage manager. Wallace became chairman of the newly formed British Lion Film Corp. in 1927, and Reed followed to become his personal assistant. As such he began learning the film trade by assisting in supervising the filmed adaptations of Wallace's works. This was essentially his day job. At night he continued stage acting and managing. It was something of a relief when Wallace passed on in 1932; Reed decided to drop the stage for film and joined historic Ealing Studios as dialog director for Associated Talking Pictures under Basil Dean.
Reed rose from dialog director to second-unit director and assistant director in record time, his first solo directorship being the adventure Midshipman Easy (1935). This and his subsequent effort, Laburnum Grove (1936), attracted high praise from a future collaborator, novelist/critic Graham Greene, who said that once Reed "gets the right script, [he] will prove far more than efficient." However, Reed would endure the sort of staid, boilerplate filmmaking that characterized British "B" movies until he left this behind with The Stars Look Down (1940), his second film with Michael Redgrave, and his openly Hitchcockian Night Train to Munich (1940), a comedy-thriller with Rex Harrison. It has often been seen as a sequel to Alfred Hitchcock's The Lady Vanishes (1938) with the same screenwriters and comedy relief--Basil Radford and Naunton Wayne, who would just about make careers as the cricket zealots Charters and Caldicott, from "Vanishes".
The British liked these films and, significantly, so did America, where Hollywood still wondered whether their patronage of the British film industry was worth the gamble of a payoff via the US public. Dean was just one of several powerhouse producers rising in Britain in the 1930s. Other names are more familiar: Alexander Korda and J. Arthur Rank stand out. For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s. He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out.
There were more thrillers and some historical bios: The Remarkable Mr. Kipps (1941) with Redgrave and The Young Mr. Pitt (1942) with Robert Donat. He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat (co-directed by Garson Kanin), The True Glory (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed.
Odd Man Out (1947) with James Mason as an IRA hit man on the run did just that and was Reed's first real independent effort, and he had gone to Rank to do it. All too soon, however, that organization began subjugating directors' wishes to studio needs, and Reed made perhaps his most important associative decision and joined Korda's London Films. Here was one very important harmony--he and Korda thought along the same lines. Though Anthony Kimmins had scripted four films for Reed, it was time for Korda to introduce the director to Graham Greene. Their association would bring Reed his greatest successes. The Fallen Idol (1948) was based on a Greene short story, with Ralph Richardson as a do-everything head butler in a diplomatic household. Idolized by the lonely, small son of his employer, he becomes caught up in a liaison with a woman on the work staff, who was much younger than his shrewish wife. It may seem slow to an American audience, but with the focus on the boy's wide-eyed view of rather gloomy surroundings, as well as the adult drama around him, it was innovative and a solid success.
What came next was a landmark--the best known of Reed's films. The Third Man (1949) was yet another Greene story, molded into a gem of a screenplay by him, though Reed added some significant elements of his own. The film has been endlessly summarized and analyzed and, whether defined as an international noir or post-war noir or just noir, it was cutting-edge noir and unforgettable. This was Reed in full control--well, almost-- and the money was coming from yet another wide-vision producer, David O. Selznick, along with Korda. Tension did develop in this effort keep a predominantly Anglo effort in this Anglo-American collaboration.
There were complications, though. For one thing, Korda--old friend and somewhat kindred spirit of wunderkind director Orson Welles--had a gentlemen's agreement with the latter for three pictures, but these were not forthcoming. Korda could be as evasive as Welles was known to be, and Welles had come to Europe to further his inevitable film projects after troubles in Hollywood. Always desperate for seed money, Welles was forced to take acting parts in Europe to build up his bank account in order to finance his more personal projects. He thus accepted the role of the larger-than-life American flim-flam man turned criminal, Harry Lime. The extended time spent filming the Vienna sewer scenes on location and at the elaborate set for them at Shepperton Studios in London, entailed the longest of the ten minutes or so of Welles' screen time. Here was a potential source of directorial intimidation if ever there was one. Welles took it upon himself to direct Reed's veteran cinematographer Robert Krasker with his own vision of some sewer sequences in London (after leaving the location shoot in Vienna), using many takes. Supposedly, Reed did not use any of Welles' footage, and in fact whatever there was got conveniently lost. Yet Citizen Kane (1941)'s shadow was so looming that Welles was given credit for a lot of camera work, atmospherics and the chase scenes. He had referred to the movie as "my film" later on and had said he wrote all his dialog. Some of the ferris wheel dialog with its famous famous "cuckoo clock" speech (which Reed and Greene both attributed to him) was probably the essence of Welles' contributions.
Krasker's quirky angles under Reed's direction perfectly framed the ready-made-for-an-art designer bombed-out shadows and stark, isolated street lights of postwar Vienna and its underworld. Unique to cinema history, the whole score (except for some canned incidental café music) was just the brilliant zither playing of Anton Karas, adding his nuances to every dramatic transition. Krasker won an Oscar, and Karas was nominated for one.
Reed's attention to detailed casting also paid off, particularly in casting German-speaking actors and background players. Selznick insisted on Joseph Cotten as Holly Martins, the benighted protagonist, and his clipped and sharp voice and subterranean drawl were perfect for the part. Reed had wanted James Stewart--definitely a different perception than Americans of its leading men. Selznick parted ways with Reed on other issues, however; there was a laundry list of reasons for his re-editing and changing some incidentals for the shorter American version, partly based on negative comments from sneak preview responses. Perhaps it was the constant interruptions from the other side of the Atlantic that drove Reed to personally narrate the introduction describing Martins in the British version of the film (given the basic tenets of noir films, the star always played narrator to introduce the story and voice over where appropriate). Selznick showed himself--in this instance, anyway--to have a better directorial sense by substituting Cotten introducing himself in the American cut. It made far more sense and was much more effective. On the other hand, Selznick's editing of the pivotal railway café scenes with Cotten and Alida Valli had continuity problems.
Nonetheless, the film was an international smash, and all the principal players reaped the rewards. Reed did not get an Oscar, but he did win the Cannes Film Grand Prix. Greene was motivated enough to take the story and expand it into a best-selling novel. Even Welles, with his minimum screen time--he was spending most of his time in Europe trying to obtain financing for his newest project, Othello (1956)--milked the movie for all it was worth. He did not deny directorial influences (though in a 1984 interview he did), and even developed a Harry Lime radio show back home.
However, the movie had its detractors. It was called too melodramatic and too cynical. The short scenes of untranslated German dialog were also criticized, yet that lent to the atmosphere of confusion and helplessness of Martins caught in a wary, potentially dangerous environment--something the audience inevitably was able to share. It was all too ironic that Reed, now declared by some as the greatest living director of the time, found his career in decline thereafter. Of his total output, four were based on plays, three on stories and 15 on novels. With less than half of them to go, he was to be disappointed for the most part. His The Man Between (1953) with James Mason was too much of a "Third Man" reprise, and A Kid for Two Farthings (1955) was too sentimental.
By now Reed was being sought by enterprising Hollywood producers. He had--as he usually did--the material for a first-rate movie with two popular American actors, Burt Lancaster and Tony Curtis for Trapeze (1956). However, it suffered from a slow script, as would the British-produced The Key (1958), despite another international cast. Things finally picked up with his venture into another Greene-scripted film from his novel, with Alec Guinness in the lead in the UK spy spoof Our Man in Havana (1959) with yet another winning international cast.
When Hollywood called again, the chance at such a British piece of history as Mutiny on the Bounty (1962) with a mostly British cast and Marlon Brando seemed bound for success. It was the second version of the movie produced by MGM (the first being the Clark Gable starrer Mutiny on the Bounty (1935)). However, Brando's history of being temperamental was much in evidence on location in Tahiti. Reed shot a small part of the picture but finally left, having more than his fill of the star's ego (and, evidently, being allowed too much artistic control by the studio) and the film was finished by Lewis Milestone. Reed would ultimately be branded as a failure in directing historical movies, but it was an unfair appraisal based on the random aspect of film success and such forces of nature as Brando, not artistic and technical expertise.
The opportunity to make another film came knocking again with Reed and American money forming the production company International Classics to produce Irving Stone's best-selling story of Michelangelo and the painting of the Sistine Chapel, The Agony and the Ecstasy (1965). Here is perhaps the prime example of Reed being given short shrift for a really valiant effort at an historical, artistically significant and cultural epic because it was a "flop" at the box office. Shot on location in Rome and its environs, the film had a first-rate cast headed by Charlton Heston doing his method best as the temperamental artist with Rex Harrison, an effortless standout as the equally volatile Pope Julius II. Diane Cilento did fine work as the Contessina de Medici, with the always stalwart Harry Andrews as architect rival Donato Bramante. Most of the other roles were filled by Italians dubbed in English, but they all look good.
Reed's attention to historical detail provided perhaps the most accurate depiction of early 16th-century Italy--from costumes and manners to military action and weapons (especially firearms)--ever brought to the screen. The script by Philip Dunne was brisk and always entertaining in the verbal battle between the artist and his pontiff. Yet by the 1960s costume epics were going out of style and bigger flops, such as Cleopatra (1963) (talk about agony) despite the wealth of stars which included Harrison, tended to spread like a disease to those few that came later. Despite a high-powered distribution campaign by Twentieth Century-Fox, Reed's exemplary effort would ultimately be appreciated by art scholars and historians--not the stuff of Hollywood's money mentality.
For Reed the only remaining triumph was, of all things, a musical--his first and only--yet again he was working with children. However, the adaptation of the great Charles Dickens novel "Oliver Twistt" top the screen (as Oliver! (1968)) was a sensation with a lively script and music amid a realistic 19th-century London that was up to Reed's usual standards. The film was nominated for no less than 11 Oscars, wining five and two of the big ones--Best Picture and Best Director. Reed had finally achieved that bit of elusiveness. He could never be so simplistically stamped with an uneven career; Reed had always kept to a precise craftsman's movie-making formula.
Fellow British director Michael Powell had said that Reed "could put a film together like a watchmaker puts together a watch". It was Graham Greene, however, who gave Reed perhaps the more important personal accolade: "The only director I know with that particular warmth of human sympathy, the extraordinary feeling for the right face in the right part, the exactitude of cutting, and not least important the power of sympathizing with an author's worries and an ability to guide him."- Actress
- Soundtrack
Luise Rainer, the first thespian to win back-to-back Oscars, was born on January 12, 1910 in Dusseldorf, Germany, into a prosperous Jewish family. Her parents were Emilie (Königsberger) and Heinrich Rainer, a businessman. She took to the stage, and plied her craft on the boards in Germany. As a young actress, she was discovered by the legendary theater director Max Reinhardt and became part of his company in Vienna, Austria. "I was supposed to be very gifted, and he heard about me. He wanted me to be part of his theater," Rainer recounted in a 1997 interview. She joined Reinhardt's theatrical company in Vienna and spent years developing as an actress under his tutelage. As part of Reinhardt's company, Rainer became a popular stage actress in Berlin and Vienna in the early 1930s. Rainer was a natural talent for Reinhardt's type of staging, which required an impressionistic acting style.
Rainer, who made her screen debut as a teenager and appeared in three other German-language films in the early 1930s, terminated her European career when the Austrian Adolf Hitler consolidated his power in Germany. With his vicious anti-Semitism bringing about the Draconian Nuremberg Laws severely curtailing the rights of Germany's Jews, and efforts to expand that regime into the Sudetenland and Austria, Hitler and his Nazi government was proving a looming threat to European Jewry. Rainer had been spotted by a talent scout, who offered her a seven-year contract with the American studio Metro-Goldwyn-Mayer. The 25-year-old Rainer took the deal and emigrated to the United States.
She made her American debut in the movie Escapade (1935), replacing Myrna Loy, who was originally slated for the part. It was her luck to have William Powell as her co-star in her first Hollywood film, as he mentored her, teaching her how to act in front of the camera. Powell, whom Rainer remembers as "a dear man" and "a very fine person," lobbied MGM. boss Louis B. Mayer, reportedly telling him, "You've got to star this girl, or I'll look like an idiot."
During the making of "Escapade", Rainer met, and fell in love with, the left-wing playwright Clifford Odets, then at the height of his fame. They were married in 1937. It was not a happy union. MGM cast Rainer in support of Powell in the title role of the The Great Ziegfeld (1936), its spectacular bio-epic featuring musical numbers that recreated his "Follies" shows on Broadway. As Anna Held, Ziegfeld's common-law wife, Rainer excelled in the musical numbers, but it is for her telephone scene that she is most remembered. "The Great Ziegfeld" was a big hit and went on to win the Academy Award as Best Picture of 1936. Rainer received her first of two successive Best Actress Oscars for playing Held. The award was highly controversial at the time as she was a relative unknown and it was only her first nomination, but also because her role was so short and relatively minor that it better qualified for a supporting nomination. (While 1936 was the first year that the Academy of Motion Picture Arts & Sciences honored supporting players, her studio, Metro-Goldwyn-Mayer, listed her as a lead player, then got out its block vote for her.) Compounding the controversy was the fact that Rainer beat out such better known and more respected actresses as Carole Lombard (her sole Oscar nomination) in My Man Godfrey (1936), previous Best Actress winner Norma Shearer (her fifth nomination) in Romeo and Juliet (1936), and Irene Dunne (her second of five unsuccessful nominations) in Theodora Goes Wild (1936). Some of the bitchery was directed toward Louis B. Mayer, whom non-MGM Academy members resented for his ability to manipulate Academy votes. Other critics of her first Oscar win claimed it was the result of voters being unduly impressed with the great budget ($2 million) of "The Great Ziegfeld" rather than great acting. Most observers agree that Rainer won her Oscar as the result of her moving and poignant performance in just one single scene in the picture, the famous telephone scene in which the broken-hearted Held congratulates Ziegfeld over the telephone on his upcoming marriage to Billie Burke while trying to retain her composure and her dignity. During the scene, the camera is entirely focused on Rainer, and she delivers a tour-de-force performance. Seventy years later, it remains one of the most famous scenes in movie history. With another actress playing Held, the scene could have been mawkish, but Rainer brought the pathos of the scene out and onto film. She based her interpretation of the scene on Jean Cocteau's play "La Voix Humaine". "Cocteau's play is just a telephone conversation about a woman who has lost her beloved to another woman", Rainer remembered. "That is the comparison. As it fit into the Ziegfeld story, that's how I wrote it. It's a daily happening, not just in Cocteau." In an interview held 60 years after the film's release, Rainer was dismissive of the performance. "I was never proud of anything", she said. "I just did it like everything else. To do a film - let me explain to you - it's like having a baby. You labor, you labor, you labor, and then you have it. And then it grows up and it grows away from you. But to be proud of giving birth to a baby? Proud? No, every cow can do that."
Rainer would allay any back-biting from Hollywood's bovines over her first Oscar with her performance as O-Lan in MGM producer Irving Thalberg's spectacular adaptation of Pearl S. Buck's "The Good Earth", the former Boy Wonder's final picture before his untimely death. The role won Rainer her second Best Actress Award. The success of The Good Earth (1937) was rooted in its realism, and its realism was enhanced by Rainer's acting opposite the legendary Paul Muni as her husband. When Thalberg cast Muni in the role of Wang Lung, he had to abandon any thought of casting the Chinese-American actress Anna May Wong as O-Lan as the Hays Office would not allow the hint of miscegenation, even between an actual Chinese woman and a Caucuasian actor in yellow-face drag. So, Thalberg gave Rainer the part, and she made O-Lan her own. She refused to wear a heavy makeup, and her elfin look helped her to assay a Chinese woman with results far superior to those of Myrna Loy in her Oriental vamp phase or Katharine Hepburn in Dragon Seed (1944). In the late 1990s, Rainer praised her director, Sidney Franklin, as "wonderful", and explained that she used an acting technique similar to "The Method" being pioneered by her husband's Group Theatre comrades back in New York. "I worked from inside out", she said. "It's not for me, putting on a face, or putting on makeup, or making masquerade. It has to come from inside out. I knew what I wanted to do and he let me do it." The win made Rainer the first two-time Oscar winner in an acting category and the first to win consecutive acting awards (Spencer Tracy, her distaff honoree for Captains Courageous (1937) would follow her as a consecutive acting Oscar winner the next year, and Walter Brennan, Best Supporting Actor Oscar winner for Come and Get It (1936) the year Rainer won her first, would tie them both in 1937 with his win for Kentucky (1938) and trump them with his third win for The Westerner (1940), a record subsequently tied by Ingrid Bergman, Jack Nicholson, Meryl Streep, Daniel Day-Lewis, and surpassed by Katharine Hepburn.)
Rainer's career soon went into free-fall and collapsed, as she became the first notable victim of the "Oscar curse", the phenomenon that has seem many a performer's career take a nose-dive after winning an Academy Award. "For my second and third pictures I won Academy Awards. Nothing worse could have happened to me", Rainer said. A non-conformist, Rainer rejected Hollywood's values of Hollywood. In the late 1990s, she said, "I came from Europe where I was with a wonderful theater group, and I worked. The only thing on my mind was to do good work. I didn't know what an Academy Award was." MGM boss Mayer, the founding force behind the Academy of Motion Picture Arts and Sciences, had to force her to attend the Awards banquet to receive her Oscar. She rebelled against the studio due to the movies that MGM forced her into after "The Good Earth".
In one case, director Dorothy Arzner had been assigned by MGM producer Joseph M. Mankiewicz (whose wife, Rose Stradner had been Rainer's understudy in the Vienna State Theater) in 1937 to direct Rainer in "The Girl from Trieste", an unproduced Ferenc Molnár play about a prostitute trying to go reform herself who discovers the hypocrisies of the respectable class which she aspires to. After Thalberg's death in 1936, Mayer's lighter aesthetic began to rule the roost at MGM. Mayer genuinely believed in the goodness of women and motherhood and put women on a pedestal; he once told screenwriter Frances Marion that he never wanted to see anything produced by MGM that would embarrass his wife and two daughters.
Without the more sophisticated Thalberg at the studio to run interference, Molnar's play was rewritten so that it was no longer about a prostitute, but a slightly bitter Cinderella story with a happy ending. Retitled by Mankiewicz as The Bride Wore Red (1937), Rainer withdrew and was replaced by Joan Crawford. In a 1976 interview in "The New York Times", Arzner claimed that Rainer "had been suspended for marrying a Communist" (Clifford Odets). This is unlikely as MGM, like all Hollywood studios, had known or suspected communists on its payroll, most of whose affiliations were known by MGM vice president E.J. Mannix. (Mannix, one of whose functions was responsibility for security at the studio, once said it would have been impossible to fire them all, as "the communists" were the studio's best writers.) The studio never took action against alleged communists until an industry-wide agreement to do so was sealed at the Waldorf Conference of 1947, which was held in reaction to the House of Un-American Activities Committee (HUAC) launching a Hollywood witch hunt.
It was more likely that Rainer, fussy over her projects and wanting to use her Academy Award prominence to ensure herself better roles, withdrew on her own due to her lack of enthusiasm for the reformulated product. In the late 1990s, Rainer recalled the satisfaction of being a European stage actress. "One day we were on a big tour", she told an interviewer in the late 1990s. "We did a play by Pirandello, and Reinhardt was in the theater. I shall never forget, it was the greatest compliment I ever got, better than any Academy Award. He came to me, looked at me and said - we were never called by first names - 'Rainer, how did you do this?' It was so wonderful. 'How did you create this?' I was so startled and happy. That was my Academy Award." Rainer still is dismissive of the Academy Awards. "I can't watch the Oscars," she said. "Everybody thanking their mother, their father, their grandparents, their nurse - it's a crazy, horrible." She blames the studio and Mayer for the rapid decline in her career. "What they did with me upset me very much", she said in a 1997 interview. "I was dreaming naturally like anyone to do something very good, but after I got the two Academy Awards the studio thought, it doesn't matter what she gets. They threw all kinds of stuff on me, and I thought, no, I didn't want to be an actress."
Mayer pulled his famous emotional routines when Rainer, whom he wanted to turn into a glamorous star, would demand meatier roles. "He would cry phony tears", she recalled. Mayer had opposed her being cast as O-Lan in "The Good Earth", but Thalberg, who had a connection with MGM capo di tutti capi Nicholas Schenck, the president of MGM corporate parent Loew's, Inc., appealed to Schenck, who overrode Mayer's veto. (Mayer, who was involved in a power struggle with Thalberg before the latter's death, had opposed his filming Pearl Buck's novel. Mayer's reasoning was that American audiences wouldn't patronize movies about American farmers, so what made anyone think they'd flock to see a film about Chinese farmers, especially one with such a big budget, estimated at $2.8 million. (Upon release, the film barely broke even.) Thalberg died during the filming of "The Good Earth" (the only film of his released by MGM whose title credits bore his name, in the form of a posthumous tribute).
Rainer felt lost without her protector. She recalled that Mayer "didn't know what to do with me, and that made me so unhappy. I was on the stage with great artists, and everything was so wonderful. I was in a repertory theater, and every night I played something else." Rainer asked to play Nora in a film of Ibsen's "A Doll's House" or portray Madame Curie, but instead, Mayer - now in complete control of the studio - had her cast in The Toy Wife (1938), a movie she actually wound up liking, as she was charmed by her co-star, the urbane, intellectually and politically enlightened Melvyn Douglas. She recalls Douglas, ultimately a double-Oscar winner like herself, as her favorite leading man. "He was intelligent, and he was interested also in other things than acting."
Her problems with the culture of Hollywood, or the lack thereof, were worsening. The lack of intellectual conversation or concern with ideas by the denizens of the movie colony she was forced to work with was depressing. Hollywood was an unsophisticated place where materialism, such as the stars' preoccupation with clothes, was paramount. As she tells it, "Soon after I was there in Hollywood, for some reason I was at a luncheon with Robert Taylor sitting next to me, and I asked him, 'Now, what are your ideas or what do you want to do', and his answer was that he wanted to have 10 good suits to wear, elegant suits of all kinds, that was his idea. I practically fell under the table."
MGM teamed her with fellow Oscar-winner Tracy in Big City (1937), a movie about conflict between rival taxi drivers. The memory of the movie disgusted her. "Supposedly it wasn't a bad film, but I thought it was a bad film!" She was also cast in The Emperor's Candlesticks (1937), reteaming her with "Ziegfeld" co-star Powell, a movie she didn't like, as she couldn't understand its story. A detective tale, the script thoroughly confused Rainer, who was expected to soldier on like a good employee. Instead, she resisted.
After appearing in The Great Waltz (1938) and Dramatic School (1938), her career was virtually over by 1938. She never made another film for MGM. "I just had to get away", she said about Hollywood. "I couldn't bear this total concentration and interviews on oneself, oneself, oneself. I wanted to learn, and to live, to go all over the world, to learn by seeing things and experiencing things, and Hollywood seemed very narrow." When World War II broke out in Europe, Rainer was joined by her family, as her German-born father was also an American citizen, allowing them all to escape Hitler and the Holocaust. Even before the outbreak of war, Rainer had been very worried about the state of affairs of the world, and she could not abide the escapist trifles that MGM wanted to cast her in. When she protested, Mayer told Rainer that if she defied him, he would blackball her in Hollywood.
Disturbed by Hollywood's apathy over fascism in Europe and Asia and by labor unrest and poverty in the U.S., she decided to walk out on her contract. She and Odets returned to New York. They were divorced in 1940. "Hollywood was a very strange place", she remembered. "To me, it was like a huge hotel with a huge door, one of those rotunda doors. On one side people went in, heads high, and very soon they came out on the other side, heads hanging." Her frustration with Hollywood was so complete, she abandoned movie acting in the early 1940s, after making the World War II drama Hostages (1943) for Paramount.
She made her Broadway debut in the play "A Kiss for Cinderella", which was staged by Lee Strasberg, which opened at the Music Box Theatre on March 10, 1942 and closed April 18th after 48 performances. Rainer then worked for the war effort during World War II, appearing at war bond rallies. She went on a tour of North Africa and Italy for the Army Special Service, socializing with soldiers to build their morale, and supplying them with books. The experience changed her life, allowing her to get over the shyness she'd had all her life. It also broadened her experience, forcing her to deal with the obvious fact that there were more important things than movie acting, which had proven unfulfilling to her.
Fortunately, Rainer found happiness in a long-lived marriage with the publisher Robert Knittel, a wealthy man whom she married in 1945. The couple had a daughter and made their home mostly in Switzerland and England as Rainer essentially left acting behind, although she did do some television in the 1940s, '50s, and '60s. Her retirement from the movies lasted for 53 years, until her brief comeback in The Gambler (1997), a movie based on Fyodor Dostoevsky's eponymous story. In the film, Rainer played the role of the matriarch of an aristocratic Russian family in the 1860s who is in hock due to the family members' obsession with gambling.
Toward the end of her life, Rainer lived in a luxurious flat in Eaton Square in London's Belgravia district, in a building where Vivien Leigh once lived. Blessed with a good memory, she claimed she could not remember the 1937 Academy Awards ceremony, when she won her first Oscar. She says the glamour of the event was out of sync with her life at the time, which was one of great sadness. "I married Clifford Odets. The marriage was for both of us a failure. He wanted me to be his little wife and a great actress at the same time. Somehow I could not live up to all of that."
She had intriguing offers during her long retirement. Federico Fellini had wanted Rainer for a role in La Dolce Vita (1960), but though she admired the director, she didn't like the script and turned it down. Rainer occasionally plied her craft as an actress on the stage. She made one more stab at Broadway, appearing in a 1950 production of Ibsen's "The Lady from the Sea", which was staged by Sam Wanamaker and Terese Hayden and co-starred Steven Hill, one of the founding members of Lee Strasberg's Actor's Studio. The play was a flop, running just 16 performances. "I was living in America and was on the stage there - sporadically. I always lived more than I worked. Which doesn't mean that I do not love my profession, and every moment I was in it gave me great satisfaction and happiness."
Rainer had no regrets over not becoming the star she might have been. She outlived all of the legendary stars of her era, which likely is the best revenge for the loss of her career after bidding adieu to a company town she could not abide.- Actress
- Director
- Writer
Begonya Plaza was born in Colombia, as Begoña del Pilar Plazaetxea Goyenetxe. Her Colombian mother's father was Basque and her father is Basque, born in Gernika, Euskadi, where they moved to live when she was 2 years old until the age of 7 when the family immigrated to Hollywood, California. During her formative years, a continuous juggling act persisted between these three countries, later adding New York and Barcelona, where daughter Caterina was born.
Begonya began acting at age 9, and has been directed by some of the best, such as Clint Eastwood, Michael Mann, Amy Jones, Oliver Stone, Tim Hunter and Philip Seymour Hoffman at New York's Labyrinth Theater. Austrian director, Kurt Palm chose Begonya to perform a one-woman theatre piece of erotic songs and poems of Bertolt Brecht & Kurt Weill.
She's acted opposite Robert De Niro, Tom Cruise, Willem Dafoe, Klaus Kinski, Carrol O'Connor, Ana Ortiz and David Zayas, amongst others.
She is writer/director/editor of the documentary "Gernika Lives" about her Basque heritage and the tragic events that her father as a young boy experienced during the bombing of Guernica.
In her bio/drama "The Real Gernika", Plaza continues to explore political and cultural issues, with the late John Randolph playing an American Lincoln Brigades Vet of the Spanish Civil War who returns to Gernika to visit the grave of his ex-comrade; and there meets his granddaughter, Begonya.
She wrote/shot/edited "Souvenir Views" in New York and Barcelona as a tribute to the World Trade Center attack of 9/11. The film premiered in 2003 at The Tribeca Film Festival, Festival de Nuevo Cine Latino Americano, Havana Cuba, Giron Film Fest in Catalunya, Spain, and airs on The Independent Film Channel.
Wrote the screenplay, "The Persistence of Memory" about one year in the life of Salvador Dalí and his wife/muse the great Gala, seen from the eyes of a young lover, through New York, Cadaques and Rome. Glenn Close is committed to playing Gala and co-producer; Amanda Mackey is currently casting the uncompromising Dalí. Juan Ruiz-Anchia, Director of Photography from Bilbao, will debut as director.
Currently writing in workshop a One-Woman performance piece titled "Passion Flower of Spain" about Dolores Ibarruri's symbolic journey through the Spanish Civil War.- Writer
- Director
- Producer
The Russian theatre and film director Andrei Konchalovsky is an elder brother of Nikita Mikhalkov, born August, 20, 1937. As a youngster he planned to pursue a career of a musician and learned to play piano but his love for cinema outweighed and he entered VGIK-the major state film school where he studied under Mikhail Romm. At VGIK he met Andrei Tarkovsky, they collaborated on Ivan's Childhood (1962) and Andrei Rublev (1966). For his feature debut The First Teacher (1965), he chose the book by Chingiz Aitmatov about the post-1917 Revolution period in the southern Russia. His next film Istoriya Asi Klyachinoy, kotoraya lyubila, da ne vyshla zamuzh (1966) although made in 1966 was not released until a decade later because it failed to comply with the strict requirements of the Russian censorship of the period. A Nest of Gentry (1969) - a study of the 19 c. aristocracy - was praised for its visual beauty but attacked by critics as mannered. Konchalovsky's powerful Uncle Vanya (1970) from the play by 'Anton Chekhov_ is regarded by many people as one of the best films in the Russian language ever. Siberiade (1979) - a dramatic and realistic story of the lives of the people of Siberia - was internationally acclaimed and brought Konchalovsky to the attention of American and European producers. From then on-wards his career has been international in scope. Pleasing critics and audiences worldwide, he made the English language films Maria's Lovers (1984), Runaway Train (1985), Duet for One (1986) (praised for Max von Sydow's brilliant performance), and the award-winning Homer and Eddie (1989) starring Whoopi Goldberg. Konchalovsky moved to the mainstream territory with the action packed Tango & Cash (1989). Charasteristically he still insists that this work is no less laudable than any of his others. He also directed plays and operas in a number of European cities. In the early 1990s he returned to Russia and directed several theatre productions most notably "The Seagull" by Chekhov and "Miss Julie" by August Strindberg. Residing in Moscow Konchalovsky sometimes makes short excursions to Hollywood to make mainstream TV productions like the Emmy-winning The Odyssey (1997) and The Lion in Winter (2003) in which Glenn Close gave an award-winning performance. His Russian-French co-production House of Fools (2002) - a story set in an asylum that stands on the border between Russia and Chechenya during the war in Chechenya - was warmly received in Europe and won an honor at the 2002 Venice Film Festival. However the film antagonized the critics in Russia. In the very beginning of his career he was credited as Mikhalkov- Konchalovsky. Later he adopted his mother's maiden name to distinguish himself from his younger brother, Nikita Mikhalkov, who was rapidly becoming a famous filmmaker himself. For his last feature film The Postman's White Nights (2014), shot digitally in his home country Russia, Andrey Konchalovsky won the 'Best Director' award at the 'Venice International Film Festival' in 2014.- Actor
- Producer
- Script and Continuity Department
Noted for his finely crafted and nuanced performances, actor James DuMont is one of the busiest actors in both film and television.
DuMont just wrapped his 74th & 75th Feature Film, Amazon's Candy Cane Lane with Eddie Murphy & Unit 234, opposite Don Johnson. James plays "Chad" on HBO's The Righteous Gemstones opposite creator & star, Danny McBride, which is going into its 4th Season in 2024. His 70th performance on television was CBS' FBI.
James is best known for Focus Features' Dallas Buyers Club opposite Oscar winner, Jared Leto where he played his father.
Mr. DuMont has amassed a glowing array of memorable characters in both film & television such as Track Suit Charle in the Netflix feature Spenser Confidential which was watched by over 75 Million households & is James' 3rd collaboration is both Director, Peter Berg & Mark Wahlberg having worked with them on CBS Films' Patriots Day and Lionsgates' Deepwater Horizon. Sheriff Charnitski in the Apple TV Series Black Bird & Recurring as Randy Finch in the Showtime series City On A Hill.
James has added to his growing gallery of historical characters on film most recently with Senator McClellan on Apple TV's The Banker starring Samuel L. Jackson & Anthony Mackie, J. Parnell Thomas in Trumbo opposite Oscar nominee, Bryan Cranston & Sherman Adams opposite the late Oscar winner, Robin Williams' in Lee Daniels' The Butler.
Recent Mini Series work include the 2022 Golden Globe winner Amazons' The Underground Railroad from Oscar winning director, Barry Jenkins. Mr. DuMont has had recurring role on NBC's Law & Order: True Crime: The Menendez Murders & the F/X series American Horror Story-Freak Show & Coven & the Lifetime/History Channels' Bonnie and Clyde.
His most recent guest star roles on television include CBS' Magnum PI & The Good Fight, NBC's Timeless, Netflix cult hit Stranger Things, Fox series 24: Legacy and CBS' CSI: New Orleans.
James' recent film work includes Disney+'s Safety, Sony Classic Pictures Hank Williams bio-pic I Saw The Light & Universals' blockbuster Jurassic World & James Brown bio-pic Get On Up, TriStar Pictures' When The Game Stands Tall & indie features The Hammer, Landline & Catch Hell starring Ryan Phillippe, which is also his directorial debut.
Mr. DuMont's most notable recurring roles on the small screen include, the AMC series Halt and Catch Fire & Mad Men. David Simon's critically-acclaimed HBO series Treme, working 4 seasons opposite Oscar-winner, Melissa Leo as Captain Richard La Fourchette and opposite Golden Globe nominee, Ray Romano on the TNT series Men Of A Certain Age.
James' son, Kelton DuMont is also on the HBO series The Righteous Gemstones playing Pontus Gemstone opposite creator & star, Danny McBride & John Goodman & the 20th Century Fox film Logan.
Mr. DuMont is a Tri-Coastal Actor by residing in New York, Los Angeles & New Orleans all at once & he shows no signs of slowing down anytime soon.- Actor
- Stunts
- Producer
They didn't throw away the mold, when it came to Rob Archer. He broke it. At 6'7, and 285lbs. of solid, etched muscle, Archer moves like a comic book superhero come to life. As an actor, he moves smoothly between playing the recurring role of Bio-Man on "Defiance" [Seasons 1,2,3], the recurring role of Bruce on "Lost Girl" [Seasons 3, 4, 5] and the "Lost Girl" webisodes, four different characters on "Warehouse 13," guest-starred as The Brain on "XIII: The Series," Vernon Hicks in The Samaritan, and Buzz on Bulletproof Monk. Archer's credits also include "Beauty and the Beast," Kickass2, "Flashpoint," "Alphas," and Repo Men.
For the winter of 2015, Archer embodies what is becoming, according to Hitfix, this generation's premiere bogeymen: Krampus in A Christmas Horror Story, co-starring William Shatner, which premiered at Fantasia, 2015. Certainly this is bolstered by two awards from the 2015 After Dark Film Festival: Best Monster/Creature (Krampus) and best Villain (Krampus played by Rob Archer).
Archer has just completed work on 22 Chaser, playing opposite Brian J. Smith (Sense8) and Raoul Trujillo (Sicario) and Operation Insanity where he takes on, literally, James Caan. Before that, he most recently appeared as the lead Navy Seal in Adam Sandlers, Pixels, trading lines with Josh Gad. Archer's career began as a stuntman/actor on "Mutant X" when he played the villain in the Season 2 finale. He was brought back to the series again in their third season and also appeared in Robocop. A consistent pattern emerged where producers took note of his acting and expanded his roles to keep him on screen longer.
Rob will also be appearing in a new Netflix feature "The Man from Toronto" starring, Kevin Hart & Woody Harrelson, in which he plays the menacing character of "Oscar" This film is set to debut the summer of 2022.
Beyond film and television, the video game world has discovered his potential. Archer's work for a major label video game will be announced in the near future. This is a natural evolution from his character 'The Conduit' in the GlassMonkey Studios comic book of the same name. The character of 'Conduit', harnesses energy as his power to combat evil, is drawn by the legendary artist Tony Gray, was modeled after Archer.
As a spokesperson, Archer is not only the international ambassador for Mr Hyde for Pro Supps, from Professional Supplements, the world wide top tier sports nutrition company based out of the USA, he is also the face of the franchise.- Director
- Writer
- Producer
Chris Stokes Bio
Entrepreneur Christopher B. Stokes has made a name for himself in the music industry with the discovery of such stars as Brandy, Immature, B2K, Jhene Aiko, Sevyn Streeter, Mila J, Kevin McHale (Glee), Omarion & Marques Houston. A Los Angeles native, Stokes has been immersed in the music business since the age of seventeen. Known for his ingenuity behind chart-topping success stories such as multi-platinum selling groups "B2K" and "Immature" and solo artists "Omarion" (former lead singer of "B2K") and Marques "MH" Houston (former lead singer of "Immature"/"IMX"), Stokes continues his meteoric rise in the music.
Stokes began his career in music at the young age of 12, singing in different groups and talent shows. His mother Irene "Mama Stokes" was an actress/comedienne, which gave Stokes his early interest in the entertainment industry. Stokes later realized that his passion was in the management field. He knew he had a great eye for new talent when he landed his first record deal with a group he was managing called "Next Issue." That situation didn't work out, but it gave Stokes the experience and determination to make his stamp in the music industry as a force to be reckoned with. As his career furthered, Stokes went on to discover the 90's Boy Group sensation Immature. While working with Immature, Stokes was introduced to singer, rapper and dancer Mila J. Later signed by Stokes, Mila J and her two group members landed a deal with the MCA label in 1995 under the name Gyrl. Gyrl disbanded and Mila J went on to be in another Stokes created girl group called Dame Four. In 2006, Mila J was signed as a solo act at Motown under the direction of music mogul Sylvia Rhone to work on what was set to be her first solo album, Split Personality. However, due to creative differences, the album was not released. In late 2012, Mila J went into the studio and put out a mix tape of 5 songs. The mix tape exploded obtaining over 600,000 downloads, causing a stir within industry insiders who then took note. In 2013, Mila J was the talk of every major label in town, but decided to re-sign to Motown. Her first single under Motown "Smoke, Drink, Break-Up" was released in February 2014 and immediately began climbing the R&B Chart. In the 00's Stokes also founded the hit boy group B2K. It was during this time that Stokes discovered and began working with Jhene Aiko. Stokes met the young songstress when she was only 5 years old. He instantly knew that she was a star and would one day be a huge success in the music business. Stokes artist developed Jhene until she was ready and old enough to take her place in the industry which began with Stokes getting her signed to Epic Records through his then production company TUG (The Ultimate Group). Some time after leaving Epic she and Stokes mutually decided to part ways. Taking some time to further develop herself Jhene Aiko released a very successful mixtape called "Sailing Souls" and on to a chart topping R&B hit "The Worst". Stokes also served as Vice President of A&M/Interscope Records. During his tenure at A&M/Interscope, Stokes assembled the girl group TG4 and signed them to T.U.G. Entertainment, where Stokes served as their manager. He offered Amber (Sevyn) Streeter the first spot in the group after she opened for B2K and IMX at a concert in Orlando, Florida in early 2001. The group later went on to be signed by A&M records. Unfortunately the group did not achieve the success that Stokes had hoped for and they later disbanded. Amber (Sevyn) Streeter went on to pursue a career in songwriting where she wrote several chart topping hits for artists like Chris Brown and Ariana Grande. She also began a successful solo career under the name Sevyn Streeter. Stokes also helped actor/singer Glee star Kevin McHale get his start in the business. Stokes discovered Kevin back in 2001 at the age of 13. Stokes helped mold him into a solid performer and put him into the boy band NLT, which led to Kevin's major role as Artie Abrams on the hit Fox television show Glee. Involved in every step of the creative process with his artists, Stokes is an accomplished songwriter as well. He has contributed to tracks for superstar groups Destiny's Child, B2K, BBD and Immature, and has also written and produced for Bobby Brown, Omarion and Marques Houston.
Without a doubt one of the most influential players in R&B music, Stokes' creative ventures extend well beyond his music roots. In 2003, Stokes made his feature writing/directing debut with the super successful "You Got Served". That film surprised Hollywood, opening at #1 and continuing to dominate even in its 2nd weekend. "You Got Served" went on to gross more than $150 million worldwide in box office and DVD combined. The dance film and it's success ignited a spark throughout the dance community and gave a breath of life to the dance culture in the industry and worldwide. Stokes has also directed more than 150 music videos for artists on his label as well as artists from other labels.
If that wasn't enough, Stokes ventured into the Clothing industry for a bit with Christopher Brian, a high-end apparel line. Stokes gave mega reality TV star Kim Kardashian her first multi-million dollar modeling job as the spokes model for Christopher Brian Apparel. E! did a news special on Chris Stokes and his clothing line featuring very racy, sexy but tasteful pictures of a topless Kim wearing just the CB jeans. The special also included Kim Kardashian. Shortly after, Kim Kardashian and her family went on to do the hit series "Keepin Up With The Kardashians". Chris Stokes has been the creative director for the line since its inception, and it represents his vision of luxurious, beautiful clothes for men and women. Deemed "the brand for the million-dollar man," the collection was a huge success at the MAGIC trade show in Las Vegas in 2007. Hundreds of celebrities packed Body English at the Hard Rock Hotel to launch the line, which featured a special performance from super producer Timbaland. A year after starting, Stokes inked a lucrative deal to sell the popular line.
In 2007 Stokes directed the horror film "Somebody Help Me" which starred Omarion and Marques Houston. In addition to directing the film, Stokes also wrote the script. The film was released to DVD on November 13, 2007 and made a television premiere on BET on Halloween 2007. In 2010, Stokes went back to his experience in the horror genre and wrote and directed the sequel to "Somebody Help Me", "Somebody Help Me 2". The sequel reunited Stokes with Sonny King (Corbin), Omarion (Darryl) and Marques Houston (Brendan) and picks up where the first installment left off. The film made it's television premiere on BET on October 29, 2010 and did really well on DVD. The success of the horror genre continued for Stokes with the Grindstone/Lionsgate release of his new film "No Vacancy". Stokes also continued with the Dance genre in 2012 with the hit kids dance battle film "Battlefield America". The film featured the introduction of young star Camren Bicondova who Stokes also discovered. "I remember I had to convince Camren and her mother to let her act in the film." Says Stokes. "Camren was hired as a dancer, but I felt like she was a mega star. So I wrote her into the film as one of the characters. She was very nervous because she had never acted before, or even thought about it. But I finally convinced her mother to let her do it. The ending result was great. We all were very happy with her performance." Camren is now one of the breakout stars of Fox's new hit TV series "Gotham" as Selina Kyle.
In 2014, Stokes set his eyes on entering into the world of television and is launching his new Film and Television Production Company Footage Films. Since it's inception Stokes' Production Company has produced and released a number of films over several different mediums. The most recent of which come from a three picture deal Stokes had with media giant Viacom in 2018. In 2018, Stokes directed three films. The first film was a suspense/drama titled We Belong Together which starred Draya Michele, Charles Malik Whitfield and Elise Neal. We Belong Together aired on BET in July 2018. The second film was a political drama titled Running Out Of Time which starred Tasha Smith and RonReaco Lee. Running Out Of Time aired on BET in December 1, 2018. To round out the trifecta, the third film, Fall Girls which starred Amara La Negra and Tammy Roman aired on BET in January 2019. All of Stokes' films can also be found on Netflix and all digital platforms, several of them have trended as "most popular" on the streaming service.
With 2019 in his sights, Stokes promises to deliver more entertaining content while building the Footage Films brand.- Actress
- Soundtrack
This saucy and engaging Tennessee born-and-bred brunette beauty came into the world on March 2, 1913, the daughter of John Thomas Weaver and Ellen Martin, both non-professionals. She attended private and high schools while growing up and attended the University of Kentucky and the University of Indiana. Showing early signs of a musical talent, she instinctively made use of her beauty and singing capabilities as she strove to find a place for herself in the entertainment business.
Paying her dues as a band singer, model, and stage performer (with the McCauley Stock Company and in Billy Rose's Shrine Minstrels), Marjorie made an inauspicious film debut in Transatlantic Merry-Go-Round (1934) in an uncredited bit part. 20th Century Fox saw something special in her, however, and signed her up in 1936. Her first few years were uneventful playing a round of alluring bit parts as chorus girls and secretary/receptionist types. Moving up the credits ladder she found lead and second lead femme roles coming her way, typically essaying the resourceful but wholesome daughter, paramour or "girl Friday" type opposite a number of virile and handsome leading men, including Ricardo Cortez in The Californian (1937); Tyrone Power in Second Honeymoon (1937); Warner Baxter in I'll Give a Million (1938); John Barrymore in Hold That Co-ed (1938); and Cesar Romero in The Cisco Kid and the Lady (1939). In the comedy Sally, Irene and Mary (1938), Alice Faye, Joan Davis and Marjorie made up the distaff trio of starry-eyed hopefuls (Marjorie played "Mary"), while providing lovely distraction in a couple of The Ritz Brothers vehicles -- Life Begins in College (1937) and Kentucky Moonshine (1938). One of her best parts came opposite Henry Fonda as Mary Todd to his Abe Lincoln in the quality bio-drama Young Mr. Lincoln (1939). She was also top-billed in such programmers as Murder Among Friends (1941) and Man at Large (1941). Most of her assignments, however, were relegated to "B" pictures and following co-star roles in two "Charlie Chan" and three "Michael Shayne" mysteries, Marjorie left Fox (in 1942) by choice and free-lanced. Her rating did not improve much, however, although she was seen to good advantage in the serial The Great Alaskan Mystery (1944). She made her last inconsequential movies with Fashion Model (1945) and Leave It to Blondie (1945).
Marjorie decided to retire from the business in 1945 and, save for an unbilled part (by accident) in We're Not Married! (1952) over at Fox, that was all she wrote. Married to Don Briggs in 1943, she and her husband had a son and daughter, Joel and Leigh, and later owned and operated a classy liquor establishment in the Westwood area of Los Angeles. She died following a stroke in 1994.- Actress
- Producer
- Soundtrack
Roslyn Kind is a dynamic, multi-talented entertainer who has forged a successful career in all facets of entertainment from critically acclaimed recordings to sold-out performances on Broadway and in top concert venues and nightclubs the world over. Ms. Kind recently performed with her sister, Barbra Streisand, during an 8 city US/Canadian tour and a 6 city International tour, which brought her to acclaimed venues including the Hollywood Bowl, The 02 Arena in London and Rogers Arena in Vancouver. In addition to performing historic duets with her sister, Ms. Kind shared the stage with her nephew Jason Gould and famed trumpeteer Chris Botti.
A vibrant musical artist, Ms. Kind is familiar to both national and international audiences for her headlining appearances at some of the most prestigious venues including Lincoln Center, The Greek Theater and London's Cafe Royal. The London Times noted "To say she is superb would be an understatement." In 2006 she made her long awaited and rapturously received Carnegie Hall debut with her frequent musical collaborator and friend, Michael Feinstein.
She began her performing career while still in her teens with the release of her first album, Give Me You . A whirlwind of performing activity followed including engagements at the nation's top nightclubs, acclaim from Time Magazine and three appearances on The Ed Sullivan Show leading up to her show-stopping New York debut at the Plaza Hotel's legendary Persian Room.
Her follow up singles and a second album, This is Roslyn Kind , showcased her growth as a recording artist comfortable in a wide range of musical genres. Ms. Kind's latest CD release, Come What May , which the New York Times described as "splendid and sizzling," further establishes her reputation as a virtuoso vocalist possessing impeccable phrasing, a richness and clarity of tone and an undeniable emotional connection to her always first-rate material.
Concurrent with her recording career, Ms. Kind is an accomplished theatrical performer. On Broadway, she starred in the crowd- pleasing musical revue 3 from Brooklyn . Additional theatrical credits include the Off-Broadway production of Show Me Where the Good Times Are, Leader of the Pack and Ferguson the Tailor . She also stopped the show in a critically lauded Los Angeles production of William Finn's Elegies ; The Hollywood Reporter noted, "Roslyn Kind sings like a dream."
Ms. Kind's extensive list of television credits include the film Switched at Birth , multiple episodes of NBC's Gimme a Break, Throb starring Jane Leeves and a humorously memorable turn as herself on CBS's The Nanny . This appearance also showcased her talent as a songwriter in a performance of her composition, Light of Love. She also performed the title song for the made-for-TV movie Not Just Another Affair, as well as the song Hold On for the award winning film Tru Loved . She was recently in the Hallmark movie Ladies of the House with Florence Henderson and Donna Mills. Ms. Kind has appeared on virtually every major talk/variety show including the Tonight Show, Saturday Night Live, Entertainment Tonight, Access Hollywood and Good Morning America . Among her international television credits are England's Pebble Mill Show, Canada's Musique Plus , and Unscripted Bio as well as For Me, Formidable , a Charles Aznavour special for European TV co-starring Dusty Springfield. In motion pictures, Ms. Kind has had starring roles in The Underachievers and I'm Going to Be Famous .
Ms. Kind also takes pride in her work for various animal welfare, Alzheimer's and AIDS related charitable organizations including HSUS, APLA and Broadway Cares Equity Fights AIDS for which she contributed a song selection to Cabaret Noel, a recent volume in their annual series of holiday CD releases.
One of the premiere interpreters of popular song, Roslyn Kind continues to succeed in every new facet of her performing career delighting audiences with her spellbinding talent. Roslyn's unique artistry is equally at home on stage, screen and disc.- Actress
- Producer
- Additional Crew
Daughter of a Chinese woman, who spent her childhood in Nishi Ku (Fukuoka City). When she was in elementary school, her parents divorced and she went to live with her mother, who ran a little restaurant. Being a child she practiced karate in junior high school, represented Kyushu in several competitions and finally won the woman national karate championship. During her attendance in the Nippon College of Health and Physical Education for women, where she studied physical education, she saw the film "Young Master" (1980), directed and starring Sing Lung, and decided enrolling JAC (Japan Action Club) to become a stuntwoman. She finally changed her name to "Oshima" and debuted in the TV series "Super Electron Bio-Man" in 1984. At that time one part of JAC, "Asia Action", became independent and based in Hong Kong and Yukari decided to leave Japan. Chinese director Hung Kam-Bo gave her a bit part in the martial arts film "Shanghai Express" in 1986 and thus she began a career in Hong Kong until 1994, when after more than 20 Chinese films and a divorce from star Cheng Ho-Nam she established herself in the Philippines and changed her name for the second time to "Cynthia Luster" (Sincere Raster). Here she would participate in more than 20 films.- Music Department
- Actor
- Composer
Oscar Levant's own versatility may have helped to cloud his memory as a sort of Hollywood utility man, perhaps in the worst sense; people tended to see him as one among many personalities, but he was so much more. It is unfortunately forgotten that he was first and foremost, a brilliant musician and very competent composer. He was from an Orthodox Jewish Russian family, growing up in the Hill District of Pittsburgh. Like his siblings, he started music lessons at an early age and on various instruments, first taking piano lessons from his older brother Benjamin. At seven he continued piano under Martin Miessler, originally of the Leipzig Conservatory. Levant was giving public recitals within a year. He attended music lessons at the Fifth Avenue High School, where he was exposed to classical performance by his instructor, Oscar Demmler. This included going to recitals of the great Polish pianist Ignacy Jan Paderewski and concerts conducted by Leopold Stokowski. Demmler invited Levant to accompany him in violin and piano repertoire, which was Levant's first public playing - he was only twelve.
Levant dropped out of high school (Fifth Avenue) in 1922 when his mother decided to take him to New York to continue music instruction. There he studied with Zygmunt Stojowski, a compatriot and disciple of Paderewski and a student trained by Wladyslaw Zelenski, Louis-Joseph Diemer and Clement Philibert Léo Delibes. By early adulthood, Levant had evolved an engaging and opinionated personality that was attracted to the social life of the city. One great influence on him was the glamor and allure of Broadway, which he saw firsthand while hiring out as a pianist for the stage pit and the many nightclubs in the area. He was in the musical play "Burlesque" (1927) and had his first stint at Broadway composing as co-composer for "Ripples" (1930). Though he gave a private recital in early December 1922 for Paderewski and kept up a schedule of attending mainstream classical musical events, he was also becoming something of a bon vivant in popular music circles, and became attracted to the seamier side of New York society, developing acquaintanceships with a variety of the city's mobsters. His mobility in social circles was, to say the least, surprising. Later Levant became a member of the Algonquin Round Table, the exclusive circle of New York wits and writers that met regularly at the Algonquin Hotel and included such luminaries as Robert Benchley, Dorothy Parker and Alexander Woollcott.
It would seem natural that Levant would eventually be attracted to the glitter of Hollywood. He had a taste of "the movies" in 1923 when he appeared with popular orchestra leader Ben Bernie and his band, All the Lads, in a little-known experimental sound effort by DeForest Phonofilm in New York City. Touring in cabaret in London from 1926, Levant heard about New York composers and musicians going west to Hollywood, where music was coming into big demand. He left for the coast in 1928. He quickly secured employment as a composer, and from that year to 1929 his compositions appearing in 21 films. From 1929 to 1937 he composed regularly for films, and a bit more sporadically from 1939 to 1948, for a total of 19 films. His mingling with the musical elite in town resulted in his developing a close friendship with legendary composer George Gershwin. The association resulted in a profound musical relationship. He was still keeping a foot in the New York music scene, mainly in Broadway and on Tin Pan Alley (he co-wrote many pop songs). He also returned to some concertizing (1930 and 1931) at two large venues: the Hollywood Bowl and Lewisohn Stadium in New York.
By 1932 Levant was turning his attention to classical composing and limiting his concertizing. His "Sonatina for Piano" caught the ear of composer Aaron Copland, who persuaded him to premiere it in April 1932 at Copland's festival for contemporary American music. Gershwin asked him to play second piano in a duet version of the "Second Rhapsody" under conductor Arturo Toscanini. He also played - almost as his own - Gershwin's signature "Concerto in F" in 1932. Although Levant launched into a crowded schedule of radio performances of popular and easy listening classical music, he did no more public concerts for some five years. He did take Gershwin's advice and refreshed his theory skills with Joseph Schillinger, a Russian who was a resident Hollywood theorist/composer. Levant was not alone in using Schillinger's music school services; at that time some of the Big-Band era's most famous names appearing on the silver screen, including Tommy Dorsey, Benny Goodman and Glenn Miller, were also using the Russian. This was in 1934, the same year Levant's "Sinfonietta" (in three movements) premiered with Bernard Herrmann conducting in New York.
Levant was back in Hollywood in 1935 for more film composing, but part of the time was spent studying under one of the great musical minds to arrive in Southern California, Arnold Schönberg. Schoenberg's time was already crowded with local academia commitments and studying with some of Hollywood's brightest composers, including Alfred Newman and Franz Waxman. Levant's study ranged from 1935 to 1937. Part of the result was the inspiration for completing his "Piano Concerto", his first of several string quartets (among other pieces he composed, including a woodwind trio), and the "Nocturne for Orchestra" (premiered in L.A. in 1937). The latter was released by New Music Editions in 1936 - this was his only orchestral score to be published. In the meantime Levant was doing music for Hollywood. His "Crayon est sur la Table", ("The Pencil is on the Table") was a sort of parody of French opera in the style of Claude Debussy. It was a centerpiece (though transformed as "Carnaval" with an Italian libretto) for the 20th Century-Fox film Charlie Chan at the Opera (1936).
In July of 1937 Gershwin passed away. This opened a new period of recognition for Levant, for he was immediately crowned sole interpreter and virtuoso performer of Gershwin's music, the beginning of a quixotic 20-year reign. That same year Levant started his "Suite for Orchestra" and finished its orchestration by early 1938. In October of that year he returned to the east to debut as a Broadway conductor while replacing his brother Harry for 65 performances of George S. Kaufman and Lorenz Hart's "The Fabulous Invalid". He augmented that by seeing to the Broadway stage as composer and conductor a new Kaufman and Hart work, "The American Way" in January of 1939.
By the middle of that year Levant had returned to concertizing in all the big American cities, showcasing not only such Gershwin works as "Concerto in F" and the "Rhapsody in Blue", but also a whole repertoire including an occasional work of his own, including his two 1940 pieces "Caprice for Orchestra" and "A New Overture and Polka for 'Oscar Homolka'" (the actor). "Caprice" was particularly showcased by British conductor Thomas Beecham. But these were his last major concert works. Nevertheless, this marked a decade of concertizing, radio broadcasts and recording significantly with Columbia Records and great conductors such as Reiner, Eugene Ormandy, Andre Kostelanetz, Wallenstein, Efrem Kurtz and Morton Gould.
Occasionally Levant appeared on film in a showcase piano piece, but there are only a handful of film roles where he showed his substantial skill as an actor. He played himself in the highly fictionalized Gershwin bio Rhapsody in Blue (1945), highlighted by his playing of the piece. He was still himself but convincingly in character in one of his best dramatic roles as wisecracking (he often wrote his own lines for his film characters) concert pianist Sid Jeffers in Humoresque (1946) with John Garfield and Joan Crawford. He went into the studio to record a set of excerpts from Richard Wagner's "Tristan" arranged for piano, violin, and orchestra with violinist Isaac Stern, and conductor Franz Waxman as part of the sound track for the film. He was able to play two of his favorite pieces (Pyotr Ilyich Tchaikovsky's "Piano Concerto No. 1" and Aram Khachaturyan's "Sabre Dance") when he got around to doing the sophisticated comedy The Barkleys of Broadway (1949). A few years later he did his last two films. In An American in Paris (1951) the focus is on Gene Kelly, but a close second was Gershwin's music, the title of the movie taken from his extraordinary montage of movements visualizing Paris. Levant was his usual carefree pianist character, but during a fantasy concerto sequence, he is spotlighted as playing the piano soloist, the conductor, and representative musicians for each orchestra instrument, a great sight gag tour de force of his musical know-how. In his final film Levant is a caricature of himself mixed with the film's co-screenwriter, Adolph Green. This was the comedy musical The Band Wagon (1953) in which friend Fred Astaire was also a caricature of himself as a legendary but essentially washed-up song and dance man who has a stellar comeback.
Levant seemed to have fun with this film and its bright script that poked fun at entertainment in general, but his dialog, obviously more of his own input, included hints at his progressive decline, including his accumulative neuroses and accompanying hypochondria. His extraordinarily glib and incisive tongue had evolved from earlier life-of-the-party witty repartee to increasingly self-critical and acerbic patter which showed up sometimes most inappropriately in his recitals from the late 1930s. His spontaneous remarks bordered, and often flowed over into, downright rudeness and sometimes only slightly veiled invective. He seemed unable to resist putting down his own musical efforts, a compulsion to parody himself, revealing his insecurities and a rather knee-jerk need to be funny and play the clown at his own expense. He had renamed his "Poeme for Piano", "Insult for the Piano" or "The Lone Ranger in Vienna." In answer to friend/musical promoter Robert Russell Bennett's radio interview with Levant (1940) asking what he thought about the reception of his first string quarter, he replied: "Violently. It not only brought me obscurity but many enemies." Such was typical of his sometimes inextricably extreme one-liners. During the height of his concertizing, Levant was the highest paid concert performer, but after 1951 he canceled many commitments, which finally brought a temporary banning by the American Federation of Musicians. There were still occasional concerts in the 1950s, one of the most memorable being Royce Hall at UCLA (1958) when he launched into the first movement of the second piano concerto of Dmitri Shostakovich only to forget his place and stop, turning to the audience and quipping,"I don't even know where I am. I'm going to start all over again". He did, and with great triumph. His final public effort that same year was the "Concerto in F" in which it took all the urging of conductor Andre Kostelanetz to keep Levant from simply stopping mid-course and walking off stage. Levant prefaced his encores with the quip that he was "playing under the auspices of Mt. Sinai" (the high-profile Los Angeles hospital often patronized by the stars).
That statement was rather pathetically true. Along with real and imagined illnesses, Levant's mental state, always fragile at best, developed into classic stage fright. By this time he was long-addicted to prescription drugs and was in and out of the hospital on a regular basis. His faithful second wife of 33 years, actress/singer June Gale, had to commit him to mental institutions on several occasions. Yet Levant continued onward. There was a series of album recordings in the late 1950s. He made the rounds of a few prime-time game shows and late-night TV talk shows, particularly that of friend Jack Parr. Between 1958 and 1960 he had his own prime-time local Los Angeles TV show called "The Oscar Levant Show", which sometimes offered a rather subdued and intimate look at the restive mind of Levant. As a talk show with guests and Levant, usually ringed in a cloud from his chain smoking, playing impromptu pieces on the piano, it was inevitably canceled because of Levant's controversial monologues and off-color, inflammatory remarks about personalities. He wrote three memoirs: "A Smattering of Ignorance" (1940), "Memoirs of an Amnesiac" (1965) and "The Unimportance of Being Oscar" (1968), each incisive as well as outlandish in the context of Levant's lifelong self-analysis and skewed view of humanity. He increasingly retired from any sort of public exposure over the last decade of his life. A composer of vital and original music and an extraordinary individual in whatever interpretation one might use, Oscar Levant was one of the most intriguing entertainment enigmas of the 20th century.- Actor
- Writer
- Soundtrack
Veteran character actor Richard B. Shull was born on February 24, 1929 in Evanston, Illinois and raised in the Midwest. He attended the University of Iowa, then served with the U.S. Army in 1953. Finding work as a stage manager following his release, he finally made his Broadway debut in the Marx Brothers musical bio "Minnie's Boys" starring Shelley Winters on Broadway in 1970. His hangdog demeanor, puffy features and bemused manner proved an excellent scene stealer in comedy roles and he moved easily into film and TV in mid-career. Following his film debut in the very obscure Watch the Birdie (1965), Richard came into his own starting in 1971 with regular roles in such movies as The Anderson Tapes (1971), Klute (1971), Made for Each Other (1971), Slither (1973), Hail (1972), Hearts of the West (1975), The Big Bus (1976), Splash (1983), Garbo Talks (1984), HouseSitter (1992), Trapped in Paradise (1994) and, his last, Private Parts (1997) with Howard Stern. On TV, he was probably best known for his title role on the silly, short-lived series Holmes and Yoyo (1976) as Det. Alexander Holmes, opposite John Schuck who played Yoyo, a robotic cop. The recipient of a Tony nomination for his Broadway work on "Goodtime Charlie" in 1975, Richard's later career included such theater notables as "The Marriage of Bette and Boo" (1985), for which he won an off-Broadway Obie award, and the ever-popular "Victor/Victoria" starring a resurgent Julie Andrews, in 1995. Married four times, Richard was appearing in the stage production of "Epic Proportions" in New York when he suffered a fatal heart attack on October 14, 1999 at age 70.