Alternate Oscars: Best Actor
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George was the son of the San Francisco Chief of Police who became a college athlete. He was the Heavyweight Boxing Champion of the Pacific Fleet during World War I. In the early 1920s, George wound up in Hollywood where he worked as a stuntman and part time actor. In 1924, Director John Ford picked virtually unknown George to star in his first picture, The Iron Horse (1924). Over the next two years, he would appear in four more Ford films and would co-star with Janet Gaynor in The Blue Eagle (1926) and Sunrise (1927). "Sunrise," a winner of two Academy Awards, was the story of a simple farmer who lets another woman talk him into murdering his wife. George remained popular until sound came along. By that time, his popularity was sliding, but he did make the transition to sound. With his rugged looks and physical size, he was soon a Western Cowboy Star. He was in some of the best stories ever written, Riders of the Purple Sage (1931), and in some of the worst. But he was consistently in the Top Ten money-making Western Stars. He would appear in a few films outside the horse set, such as Ever Since Eve (1934), but those roles would be few. By the end of the 1930s, George was still a popular 'B' movie Cowboy Star, but he would not take the parts as seriously as he did a decade before. During World War II, he hung up his spurs, and he re-enlisted in the Navy where he fought in the Pacific and was decorated many times. After the war, when he would not find work in acting, John Ford, his old Director, would give him work with the cavalry in three of his films.1927 in Sunrise- Actor
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Joseph Frank Keaton was born on October 4, 1895 in Piqua, Kansas, to Joe Keaton and Myra Keaton. Joe and Myra were Vaudevillian comedians with a popular, ever-changing variety act, giving Keaton an eclectic and interesting upbringing. In the earliest days on stage, they traveled with a medicine show that included family friend, illusionist Harry Houdini. Keaton himself verified the origin of his nickname "Buster", given to him by Houdini, when at the age of three, fell down a flight of stairs and was picked up and dusted off by Houdini, who said to Keaton's father Joe, also nearby, that the fall was 'a buster'. Savvy showman Joe Keaton liked the nickname, which has stuck for more than 100 years.
At the age of four, Keaton had already begun acting with his parents on the stage. Their act soon gained the reputation as one of the roughest in the country, for their wild, physical antics on stage. It was normal for Joe to throw Buster around the stage, participate in elaborate, dangerous stunts to the reverie of audiences. After several years on the Vaudeville circuit, "The Three Keatons", toured until Keaton had to break up the act due to his father's increasing alcohol dependence, making him a show business veteran by the age of 21.
While in New York looking for work, a chance run-in with the wildly successful film star and director Roscoe 'Fatty' Arbuckle, resulted in Arbuckle inviting him to be in his upcoming short The Butcher Boy (1917), an appearance that launched Keaton's film career, and spawned a friendship that lasted until Arbuckle's sudden death in 1933. By 1920, after making several successful shorts together, Arbuckle moved on to features, and Keaton inherited his studio, allowing him the opportunity to begin producing his own films. By September 1921, tragedy touched Arbuckle's life by way of a scandal, where he was tried three times for the murder of Virginia Rapp. Although he was not guilty of the charges, and never convicted, he was unable to regain his status, and the viewing public would no longer tolerate his presence in film. Keaton stood by his friend and mentor through out the incident, supporting him financially, finding him directorial work, even risking his own budding reputation offering to testify on Arbuckle's behalf.
In 1921, Keaton also married his first wife, Natalie Talmadge under unusual circumstance that have never been fully clarified. Popular conjecture states that he was encouraged by Joseph M. Schenck to marry into the powerful Talmadge dynasty, that he himself was already a part of. The union bore Keaton two sons. Keaton's independent shorts soon became too limiting for the growing star, and after a string of popular films like One Week (1920), The Boat (1921) and Cops (1922), Keaton made the transition into feature films. His first feature, Three Ages (1923), was produced similarly to his short films, and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the story lines and characterization.
At the height of his popularity, he was making two features a year, and followed Ages with Our Hospitality (1923), The Navigator (1924) and The General (1926), the latter two he regarded as his best films. The most renowned of Keaton's comedies is Sherlock Jr. (1924), which used cutting edge special effects that received mixed reviews as critics and audiences alike had never seen anything like it, and did not know what to make of it. Modern day film scholars liken the story and effects to Christopher Nolan Inception (2010), for its high level concept and ground-breaking execution. Keaton's Civil War epic The General (1926) kept up his momentum when he gave audiences the biggest and most expensive sequence ever seen in film at the time. At its climax, a bridge collapses while a train is passing over it, sending the train into a river. This wowed audiences, but did little for its long-term financial success. Audiences did not respond well to the film, disliking the higher level of drama over comedy, and the main character being a Confederate soldier.
After a few more silent features, including College (1927) and Steamboat Bill, Jr. (1928), Keaton was informed that his contract had been sold to MGM, by brother-in-law and producer Joseph M. Schenck. Keaton regarded the incident as the worst professional mistake he ever made, as it sent his career, legacy, and personal life into a vicious downward spiral for many years. His first film with MGM was The Cameraman (1928), which is regarded as one of his best silent comedies, but the release signified the loss of control Keaton would incur, never again regaining his film -making independence. He made one more silent film at MGM entitled Spite Marriage (1929) before the sound era arrived.
His first appearance in a film with sound was with the ensemble piece The Hollywood Revue of 1929 (1929), though despite the popularity of it and his previous MGM silents, MGM never allowed Keaton his own production unit, and increasingly reduced his creative control over his films. By 1932, his marriage to Natalie Talmadge had dissolved when she sued him for divorce, and in an effort to placate her, put up little resistance. This resulted in the loss of the home he had built for his family nicknamed "The Italian Villa", the bulk of his assets, and contact with his children. Natalie changed their last names from Keaton to Talmadge, and they were disallowed from speaking about their father or seeing him. About 10 years later, when they became of age, they rekindled the relationship with Keaton. His hardships in his professional and private life that had been slowly taking their toll, begun to culminate by the early 1930s resulting in his own dependence on alcohol, and sometimes violent and erratic behavior. Depressed, penniless, and out of control, he was fired by MGM by 1933, and became a full-fledged alcoholic.
After spending time in hospitals to attempt and treat his alcoholism, he met second wife Mae Scrivens, a nurse, and married her hastily in Mexico, only to end in divorce by 1935. After his firing, he made several low-budget shorts for Educational Pictures, and spent the next several years of his life fading out of public favor, and finding work where he could. His career was slightly reinvigorated when he produced the short Grand Slam Opera (1936), which many of his fans admire for giving such a good performance during the most difficult and unmanageable years of his life.
In 1940, he met and married his third wife Eleanor Norris, who was deeply devoted to him, and remained his constant companion and partner until Keaton's death. After several more years of hardship working as an uncredited, underpaid gag man for comedians such as the Marx Brothers, he was consulted on how to do a realistic and comedic fall for In the Good Old Summertime (1949) in which an expensive violin is destroyed. Finding no one who could do this better than him, he was given a minor role in the film. His presence reignited interest in his silent films, which lead to interviews, television appearances, film roles, and world tours that kept him busy for the rest of his life.
After several more film, television, and stage appearances through the 1960s, he wrote the autobiography "My Wonderful World of Slapstick", having completed nearly 150 films in the span of his ground-breaking career. His last film appearance was A Funny Thing Happened on the Way to the Forum (1966) which premiered seven months after Keaton's death from the rapid onset of lung cancer. Since his death, Keaton's legacy is being discovered by new generations of viewers every day, many of his films are available on YouTube, DVD and Blu-ray, where he, like all gold-gilded and beloved entertainers can live forever.1928 in Steamboat Bill, Jr.- Actor
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One of the oldest actors on the screen in the 1920s and 1930s, George Arliss starred on the London stage from an early age. He came to the United States and starred in several films, but it was his role as British Prime Minister Benjamin Disraeli in Disraeli (1929) that brought him his greatest success.1929 in Disraeli- Actor
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His real name was Theodor Friedrich Emil Janenz, and in the early 1900s, he was already working in the theater under Max Reinhardt's company. Important movies where he defined himself as a convincing actor were Passion (1919) and Quo Vadis? (1924), followed by The Last Laugh (1924) (aka The Last Laugh) in 1924 and Variety (1925) (aka Variety) in 1925. In 1928, he became the first male leading actor to receive the academy award for The Last Command (1928) directed by Josef von Sternberg. In 1929, Stenberg directed him in his world famous movie The Blue Angel (1930) (aka The Blue Angel) co-starring the young Marlene Dietrich (her first role). Later on, he concentrated on theater and dedicated his acting skills to the Nazi regime and also took part in the realization of Ohm Krüger (1941) in 1941, an expensive anti-British film production. When the Second World War ended, the US government cleaned his image, and he converted to Catholicism. He played in a few more German movies, but his career never recaptured its brilliance.1930 in The Blue Angel- Actor
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Peter Lorre was born László Löwenstein in Rózsahegy in the Slovak area of the Austro-Hungarian Empire, the son of Hungarian Jewish parents. He learned both Hungarian and German languages from birth, and was educated in elementary and secondary schools in the Austria-Hungary capitol Vienna, but did not complete. As a youth he ran away from home, first working as a bank clerk, and after stage training in Vienna, Austria, made his acting debut at age 17 in 1922 in Zurich, Switzerland. He traveled for several years acting on stage throughout his home region, Vienna, Berlin, and Zurich, including working with Bertolt Brecht, until Fritz Lang cast him in a starring role as the psychopathic child killer in the German film M (1931).
After several more films in Germany, including a couple roles for which he learned to speak French, Lorre left as the Nazis came to power, going first to Paris where he made one film, then London where Alfred Hitchcock cast him as a creepy villain in The Man Who Knew Too Much (1934), where he learned his lines phonetically, and finally arrived in Hollywood in 1935. In his first two roles there he starred as a mad scientist in Mad Love (1935) directed by recent fellow-expatriate Karl Freund, and the leading part of Raskolnikov in Crime and Punishment (1935), by another expatriate German director Josef von Sternberg, a successful movie made at Lorre's own suggestion. He returned to England for a role in another Hitchcock film, Secret Agent (1936), then back to the US for a few more films before checking into a rehab facility to cure himself of a morphine addiction.
After shaking his addiction, in order to get any kind of acting work, Lorre reluctantly accepted the starring part as the Japanese secret agent in Thank You, Mr. Moto (1937), wearing makeup to alter his already very round eyes for the part. He ended up committed to repeating the role for eight more "Mr. Moto" movies over the next two years.
Lorre played numerous memorable villain roles, spy characters, comedic roles, and even a romantic type, throughout the 1940s, beginning with his graduation from 30s B-pictures The Maltese Falcon (1941). Among his most famous films, Casablanca (1942), and a comedic role in the Broadway hit film Arsenic and Old Lace (1944).
After the war, between 1946 and '49 Lorre concentrated largely on radio and the stage, while continuing to appear in movies. In Autumn 1950 he traveled to West Gemany where he wrote, directed and starred in the critically acclaimed but generally unknown German-language film The Lost Man (1951), adapted from Lorre's own novel.
Lorre returned to the US in 1952, somewhat heavier in stature, where he used his abilities as a stage actor appearing in many live television productions throughout the 50s, including the first James Bond adaptation Casino Royale (1954), broadcast just a few months after Ian Fleming had published that first Bond novel. In that decade, Lorre had various roles, often to type but also as comedic caricatures of himself, in many episodes of TV series, and variety shows, though he continued to work in motion pictures, including the Academy Award winning Around the World in 80 Days (1956), and a stellar role as a clown in The Big Circus (1959).
In the late 50s and early 1960s he worked in several low-budget films, with producer-director Roger Corman, and producer-writer-director Irwin Allen, including the aforementioned The Big Circus and two adventurous Disney movies with Allen. He died from a stroke the year he made his last movie, playing a stooge in Jerry Lewis' The Patsy (1964).1931 in M- Actor
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Paul Muni was born Sept. 22, 1895, in Lemberg, Austro-Hungarian Empire, to Salli and Phillip Weisenfreund, who were both professionals. His family was Jewish, and spoke Yiddish. Paul was educated in New York and Cleveland public schools. He was described as 5 feet 10 inches, with black hair and eyes, 165 pounds. He joined the Yiddish Art Theatre in New York (1908) for 4 years, and then moved to other Yiddish theaters until 1926, when he "went into an American play" called "We Americans", his first English-language role. In 1927-28, he appeared in the plays "Four Walls", "This One Man", "Counsellor-at-Law", and others. He began with Fox in 1928. He would later alternate between Broadway and Hollywood for his roles, becoming one of the more distinguished actors in either venue. Failing eyesight and otherwise poor health forced him into retirement after his appearance in The Last Angry Man (1959).1932 in I Am a Fugitive from a Chain Gang- Actor
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Charles Laughton was born in Scarborough, Yorkshire, England, to Eliza (Conlon) and Robert Laughton, hotel keepers of Irish and English descent, respectively. He was educated at Stonyhurst (a highly esteemed Jesuit college in England) and at the Royal Academy of Dramatic Art (received gold medal). His first appearance on stage was in 1926. Laughton formed own film company, Mayflower Pictures Corp., with Erich Pommer, in 1937. He became an American citizen 1950. A consummate artist, Laughton achieved great success on stage and film, with many staged readings (particularly of George Bernard Shaw) to his credit. Laughton died in Hollywood, California, aged 63.1933 in The Private Life of Henry VIII- Actor
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William Clark Gable was born on February 1, 1901 in Cadiz, Ohio, to Adeline (Hershelman) and William Henry Gable, an oil-well driller. He was of German, Irish, and Swiss-German descent. When he was seven months old, his mother died, and his father sent him to live with his maternal aunt and uncle in Pennsylvania, where he stayed until he was two. His father then returned to take him back to Cadiz. At 16, he quit high school, went to work in an Akron, Ohio, tire factory, and decided to become an actor after seeing the play "The Bird of Paradise". He toured in stock companies, worked oil fields and sold ties. On December 13, 1924, he married Josephine Dillon, his acting coach and 15 years his senior. Around that time, they moved to Hollywood, so that Clark could concentrate on his acting career. In April 1930, they divorced and a year later, he married Maria Langham (a.k.a. Maria Franklin Gable), also about 17 years older than him.
While Gable acted on stage, he became a lifelong friend of Lionel Barrymore. After several failed screen tests (for Barrymore and Darryl F. Zanuck), Gable was signed in 1930 by MGM's Irving Thalberg. He had a small part in The Painted Desert (1931) which starred William Boyd. Joan Crawford asked for him as co-star in Dance, Fools, Dance (1931) and the public loved him manhandling Norma Shearer in A Free Soul (1931) the same year. His unshaven lovemaking with bra-less Jean Harlow in Red Dust (1932) made him MGM's most important star.
His acting career then flourished. At one point, he refused an assignment, and the studio punished him by loaning him out to (at the time) low-rent Columbia Pictures, which put him in Frank Capra's It Happened One Night (1934), which won him an Academy Award for his performance. The next year saw a starring role in Call of the Wild (1935) with Loretta Young, with whom he had an affair (resulting in the birth of a daughter, Judy Lewis). He returned to far more substantial roles at MGM, such as Fletcher Christian in Mutiny on the Bounty (1935) and Rhett Butler in Gone with the Wind (1939).
After divorcing Maria Langham, in March 1939 Clark married Carole Lombard, but tragedy struck in January 1942 when the plane in which Carole and her mother were flying crashed into Table Rock Mountain, Nevada, killing them both. A grief-stricken Gable joined the US Army Air Force and was off the screen for three years, flying combat missions in Europe. When he returned the studio regarded his salary as excessive and did not renew his contract. He freelanced, but his films didn't do well at the box office. He married Sylvia Ashley, the widow of Douglas Fairbanks, in 1949. Unfortunately this marriage was short-lived and they divorced in 1952. In July 1955 he married a former sweetheart, Kathleen Williams Spreckles (a.k.a. Kay Williams) and became stepfather to her two children, Joan and Adolph ("Bunker") Spreckels III.
On November 16, 1959, Gable became a grandfather when Judy Lewis, his daughter with Loretta Young, gave birth to a daughter, Maria. In 1960, Gable's wife Kay discovered that she was expecting their first child. In early November 1960, he had just completed filming The Misfits (1961), when he suffered a heart attack, and died later that month, on November 16, 1960. Gable was buried shortly afterwards in the shrine that he had built for Carole Lombard and her mother when they died, at Forest Lawn Cemetery.
In March 1961, Kay Gable gave birth to a boy, whom she named John Clark Gable after his father.1934 in It Happened One Night- Actor
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Robert Donat's pleasant voice and somewhat neutral English accent were carefully honed as a boy because he had a stammer and took elocution lessons starting at age 11 to overcome the impediment. It was not too surprising that freedom from such a vocal embarrassment was encouragement to act. His other handicap, acute asthma, did not deter him. At the age of 16 he began performing Shakespeare and other classic roles in a number of repertory and touring companies throughout Britain. In 1924 he joined Sir Frank Benson's repertory company, and later he was with the Liverpool Repertory Theater.
His work was finally noticed by Alexander Korda, who gave him a three-year film contract. Three minor films were followed by his role as Katherine Howard's lover, Thomas Culpepper, in the hit The Private Life of Henry VIII (1933). Donat's style of acting, whether comic or dramatic, was usually reserved, with the subtleties of face and voice being his talents to complement the role. A top draw in Britain, he went to Hollywood for The Count of Monte Cristo (1934), but he did not care for the Hollywood scene--the fishbowl lifestyle of the movie star. "Cristo" gave him the opportunity for Captain Blood (1935), but he eventually declined. (With a nod to hindsight, it is hard to think of anyone but a fresh-faced Flynn doing the role.) Although he would have contracts with MGM, Warner Bros. and RKO through the remainder of the 1930s, he begged off many a film role or broke commitments, ostensibly because of health problems, though, along with being finicky about roles, he was also such a conscientious actor that lack of confidence sometimes stymied his forward progress.
Hollywood usually had to shoot in England if it wanted him badly enough. And that was not a problem after the box office reception given The 39 Steps (1935), the big hit for Alfred Hitchcock. There was a hint of whimsy in Donat's face that worked especially well with the sophisticated comedic elements that crept into several of his dramatic roles. His portrayal of individualist Canadian Richard Hannay--which registered with North Americans both above and below the 49th parallel--in "Steps" was the first of such popular characters. Some of Hitch's famous on-the-set practical jokes ensued on the first day of shooting "Steps." The first scene was the escape on the moors from the master spy's henchmen by Donat and Madeleine Carroll handcuffed together. Donat and Carroll had not met before this, and Hitchcock handcuffed them together hours before filming so that they could get very well acquainted. He insisted he had misplaced the key when in fact he had slipped it to a studio security officer for safekeeping.
Hitchcock attempted to land Donat for three other roles, Sabotage (1936) and Secret Agent (1936) and Rebecca (1940), but illness, commitments, and more illness, respectively, supposedly kept Donat from accepting each. Hollywood would be treated in kind, for Donat was more dedicated to stage work. Hollywood did get him for The Citadel (1938), for which he was nominated for a Best Actor Oscar. He won the Oscar the next year for perhaps his best known role in Goodbye, Mr. Chips (1939) (MGM's with Greer Garson). Since 1939 was one of the most competitive film years in Hollywood history, Donat's reward for his mild Mr. Chipping was something of a stunner. This was the year of Gone with the Wind (1939), and Clark Gable as Rhett Butler seemed a shoo-in for best actor. But there is something of a myth that since both pictures were from MGM and "Wind" had so many nominations (including best actor, actress, and picture), MGM head and strongman Louis B. Mayer used his weight to spread the wealth toward "Chips".
Unlike other British actors who came to work in America during World War II, Donat stayed in Britain. He did mostly theater but also some British films--only four--with one for Korda and one for Carol Reed. Only six more films were allotted Donat after the war and into the 1950s, all but one British productions. He starred, directed and co-wrote The Cure for Love (1949) and starred in The Magic Box (1951), a well-crafted and delightful (if a bit fictionalized) salute to the history of the British film industry. By 1955, all of Donat's acting efforts required a bottle of oxygen kept off stage and at the ready as his health continued to turn toward the worse. The Inn of the Sixth Happiness (1958), a Twentieth Century Fox production shot in the UK, was Donat's final film. His fragility was poignantly obvious on screen, and he died shortly after the film was finished. He received a posthumous Special Citation from the USA National Board of Review and was nominated for a Best Actor Golden Globe. It was a career for Robert Donat that should have gone on, yet it was filled with many notable screen memories just the same.1935 in The 39 Steps- Actor
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William Powell was on the New York stage by 1912, but it would be ten years before his film career would begin. In 1924 he went to Paramount Pictures, where he was employed for the next seven years. During that time, he played in a number of interesting films, but stardom was elusive. He did finally attract attention with The Last Command (1928) as Leo, the arrogant film director. Stardom finally came via his role as Philo Vance in The Canary Murder Case (1929), in which he investigates the death of Louise Brooks, "the Canary." Unlike many silent actors, sound boosted Powell's career. He had a fine, urbane voice and his stage training and comic timing greatly aided his introduction to sound pictures. However, he was not happy with the type of roles he was playing at Paramount, so in 1931 he switched to Warner Bros. There, he again became disappointed with his roles, and his last appearance for Warners was as Philo Vance in The Kennel Murder Case (1933). In 1934 Powell went to MGM, where he was teamed with Myrna Loy in Manhattan Melodrama (1934). While Philo made Powell a star, another detective, Nick Charles, made him famous. Powell received an Academy Award nomination for The Thin Man (1934) and later starred in the Best Picture winner for 1936, The Great Ziegfeld (1936). Powell could play any role with authority, whether in a comedy, thriller, or drama. He received his second Academy Award nomination for My Man Godfrey (1936) and was on top of the world until 1937, when he made his first picture with Jean Harlow, Reckless (1935). The two clicked, off-screen as well as on-screen, and shortly became engaged. One day, while Powell was filming Double Wedding (1937) on one MGM sound stage, Harlow became ill on another. She was finally taken to the hospital, where she died. Her death greatly upset both Powell and Myrna Loy, and he took six weeks off from making the movie to deal with his sorrow. After that he traveled, not making another MGM film for a year. He eventually did five sequels to "The Thin Man," the last one in 1947. He also received his third Academy Award nomination for his work in Life with Father (1947). His screen appearances became less frequent after that, and his last role was in 1955. He had come a long way from playing the villain in 1922.1936 in My Man Godfrey- Actor
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Jean-Alexis Moncorgé started his career with 15 years at the theatre and debuted at the "Moulin Rouge" in Paris in 1929. Despite of his rude aspect he knew to be the gentleman of the French cinema in the time between the two World Wars. One of his most popular personalities was inspector Maigret. But he was also able to play all other kind of people: aristocrats, farmers, thieves and managers. He never stopped working and when death surprised him in 1976 he was still an institution for the French audience.1937 in Grand Illusion- Actor
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Spencer Tracy was the second son born on April 5, 1900, to truck salesman John Edward and Caroline Brown Tracy in Milwaukee, Wisconsin. While attending Marquette Academy, he and classmate Pat O'Brien quit school to enlist in the Navy at the start of World War I. Tracy was still at Norfolk Navy Yard in Virginia at the end of the war. After playing the lead in the play "The Truth" at Ripon College he decided that acting might be his career.
Moving to New York, Tracy and O'Brien, who'd also settled on a career on the stage, roomed together while attending the Academy of Dramatic Arts. In 1923 both got nonspeaking parts as robots in "R.U.R.", a dramatization of the groundbreaking science fiction novel by Czech author Karel Capek. Making very little money in stock, Tracy supported himself with jobs as bellhop, janitor and salesman until John Ford saw his critically acclaimed performance in the lead role in the play "The Last Mile" (later played on film by Clark Gable) and signed him for The William Fox Film Company's production of Up the River (1930). Despite appearing in sixteen films at that studio over the next five years, Tracy was never able to rise to full film star status there, in large part because the studio was unable to match his talents to suitable story material.
During that period the studio itself floundered, eventually merging with Darryl F. Zanuck, Joseph Schenck and William Goetz's William 20th Century Pictures to become 20th Century-Fox). In 1935 Tracy signed with MGM under the aegis of Irving Thalberg and his career flourished. He became the first actor to win back-to-back Best Actor Oscars for Captains Courageous (1937) and, in a project he initially didn't want to star in, Boys Town (1938).
During Tracy's nearly forty-year film career, he was nominated for his performances in San Francisco (1936), Father of the Bride (1950), Bad Day at Black Rock (1955), The Old Man and the Sea (1958), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967).
Tracy had a brief romantic relationship with Loretta Young in the mid-1930s, and a lifelong one with Katharine Hepburn beginning in 1942 after they were first paired in Woman of the Year by director George Stevens. Tracy's strong Roman Catholic beliefs precluded his divorcing wife Louise, though they mostly lived apart. Tracy suffered from severe alcoholism and diabetes (from the late 1940s), which led to his declining several tailor-made roles in films that would become big hits with other actors in those roles. Although his drinking problems were well known, he was considered peerless among his colleagues (Tracy had a well-deserved reputation for keeping co-stars on their toes for his oddly endearing scene-stealing tricks), and remained in demand as a senior statesman who nevertheless retained box office clout. Two weeks after completion of Stanley Kramer's Guess Who's Coming to Dinner (1967), during which he suffered from lung congestion, Spencer Tracy died of a heart attack.1938 in Boys' Town- Actor
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This remarkable, soft-spoken American began in films as a diffident juvenile. With passing years, he matured into a star character actor who exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He was born in Grand Island, Hall, Nebraska, the son of Herberta Elma (Jaynes) and William Brace Fonda, who was a commercial printer, and proprietor of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country and moved to Holland, presumably because of political or religious persecution. In the mid-1600s, they crossed the Atlantic and settled in upstate New York where they founded a community with the Fonda name.
Growing up, Henry developed an early interest in journalism after having a story published in a local newspaper. At the age of twelve, he helped in his father's printing business for $2 a week. Following graduation from high school in 1923, he got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. As it became difficult to juggle his working hours with his academic roster, he obtained another position as a physical education instructor at $30 a week, including room and board. By this time, he had grown to a height of six foot one and was a natural for basketball.
In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. Then, despite opposition from his parents, Henry accepted an offer from Gregory Foley, director of the Omaha Playhouse, to play the title role in 'Merton of the Movies'. His father would not speak to him for a month. The play and its star received fairly good notices in the local press. It ran for a week, after which Henry observed "the idea of being Merton and not myself taught me that I could hide behind a mask". For the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway.
In 1928, he headed east and briefly played in summer stock before joining the University Players, a group of talented Princeton and Harvard graduates among whose number were such future luminaries as James Stewart (who would remain his closest lifelong friend), Joshua Logan and Kent Smith. Before long, Henry played leads opposite Margaret Sullavan, soon to become the first of his five wives. Both marriage and the players broke up four years later. In 1932, Henry found himself sharing a two-room New York apartment with Jimmy Stewart and Joshua Logan. For the next two years, he alternated scenic design with acting at various repertory companies. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely.
It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western The Trail of the Lonesome Pine (1936), the gritty Depression-era drama You Only Live Once (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy The Moon's Our Home (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama Jezebel (1938) and the equally superb Young Mr. Lincoln (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) and The Grapes of Wrath (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in My Darling Clementine (1946)), a reluctant posse member (The Ox-Bow Incident (1942), a juror committed to the ideal of total justice in (12 Angry Men (1957)) or a nightclub musician wrongly accused of murder (The Wrong Man (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of The Return of Frank James (1940), a rare example of a sequel improving upon the original.
Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in The Mad Miss Manton (1938) and The Lady Eve (1941). He was also good value as a poker-playing grifter in the western comedy A Big Hand for the Little Lady (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Once Upon a Time in the West (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in On Golden Pond (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.1939 in Young Mr. Lincoln- Writer
- Actor
- Director
Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.1940 in The Great Dictator- Actor
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His father, Richard Head Welles, was a well-to-do inventor, his mother, Beatrice (Ives) Welles, a beautiful concert pianist; Orson Welles was gifted in many arts (magic, piano, painting) as a child. When his mother died in 1924 (when he was nine) he traveled the world with his father. He was orphaned at 15 after his father's death in 1930 and became the ward of Dr. Maurice Bernstein of Chicago. In 1931, he graduated from the Todd School in Woodstock, Illinois. He turned down college offers for a sketching tour of Ireland. He tried unsuccessfully to enter the London and Broadway stages, traveling some more in Morocco and Spain, where he fought in the bullring.
Recommendations by Thornton Wilder and Alexander Woollcott got him into Katharine Cornell's road company, with which he made his New York debut as Tybalt in 1934. The same year, he married, directed his first short, and appeared on radio for the first time. He began working with John Houseman and formed the Mercury Theatre with him in 1937. In 1938, they produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" (intended as a Halloween prank). His first film to be seen by the public was Citizen Kane (1941), a commercial failure losing RKO $150,000, but regarded by many as the best film ever made. Many of his subsequent films were commercial failures and he exiled himself to Europe in 1948.
In 1956, he directed Touch of Evil (1958); it failed in the United States but won a prize at the 1958 Brussels World's Fair. In 1975, in spite of all his box-office failures, he received the American Film Institute's Lifetime Achievement Award, and in 1984, the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award. His reputation as a filmmaker steadily climbed thereafter.1941 in Citizen Kane- Actor
- Stunts
- Producer
Born to Alice Cooper and Charles Cooper. Gary attended school at Dunstable school England, Helena Montana and Grinnell College, Grinnell, Iowa (then called Iowa College). His first stage experience was during high school and college. Afterwards, he worked as an extra for one year before getting a part in a two-reeler by the independent producer Hans Tiesler . Eileen Sedgwick was his first leading lady. He then appeared in The Winning of Barbara Worth (1926) for United Artists before moving to Paramount. While there he appeared in a small part in Wings (1927), It (1927), and other films.1942 in Pride of the Yankees- Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.1943 in Casablanca- Actor
- Producer
- Soundtrack
Fred MacMurray was likely the most underrated actor of his generation. True, his earliest work is mostly dismissed as pedestrian, but no other actor working in the 1940s and 50s was able to score so supremely whenever cast against type.
Frederick Martin MacMurray was born in Kankakee, Illinois, to Maleta Martin and Frederick MacMurray. His father had Scottish ancestry and his mother's family was German. His father's sister was vaudeville performer and actress Fay Holderness. When MacMurray was five years old, the family moved to Beaver Dam in Wisconsin, his parents' birth state. He graduated from Beaver Dam High School (later the site of Beaver Dam Middle School), where he was a three-sport star in football, baseball, and basketball. Fred retained a special place in his heart for his small-town Wisconsin upbringing, referring at any opportunity in magazine articles or interviews to the lifelong friends and cherished memories of Beaver Dam, even including mementos of his childhood in several of his films. In "Pardon my Past", Fred and fellow GI William Demarest are moving to Beaver Dam, WI to start a mink farm.
MacMurray earned a full scholarship to attend Carroll College in Waukesha, Wisconsin and had ambitions to become a musician. In college, MacMurray participated in numerous local bands, playing the saxophone. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. MacMurray recorded a vocal with Arnheim's orchestra "All I Want Is Just One Girl" -- Victor 22384, 3/20/30. He appeared on Broadway in the 1930 hit production of "Three's a Crowd" starring Sydney Greenstreet, Clifton Webb and Libby Holman. He next worked alongside Bob Hope in the 1933 production of "Roberta" before he signed on with Paramount Pictures in 1934 for the then-standard 7-year contract (the hit show made Bob Hope a star and he was also signed by Paramount). MacMurray married Lillian Lamont (D: June 22, 1953) on June 20, 1936, and they adopted two children.
Although his early film work is largely overlooked by film historians and critics today, he rose steadily within the ranks of Paramount's contract stars, working with some of Hollywood's greatest talents, including wunderkind writer-director Preston Sturges (whom he intensely disliked) and actors Humphrey Bogart and Marlene Dietrich. Although the majority of his films of the 30's can largely be dismissed as standard fare there are exceptions: he played opposite Claudette Colbert in seven films, beginning with The Gilded Lily (1935). He also co-starred with Katharine Hepburn in the classic, Alice Adams (1935), and with Carole Lombard in Hands Across the Table (1935), The Trail of the Lonesome Pine (1936) -- an ambitious early outdoor 3-strip Technicolor hit, co-starring with Henry Fonda and Sylvia Sidney directed by Henry Hathaway -- The Princess Comes Across (1936), and True Confession (1937). MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In an interesting sidebar, artist C.C. Beck used MacMurray as the initial model for a superhero character who would become Fawcett Comics' Captain Marvel in 1939.
The 1940s gave him his chance to shine. He proved himself in melodramas such as Above Suspicion (1943) and musicals (Where Do We Go from Here? (1945)), somewhat ironically becoming one of Hollywood's highest-paid actors by 1943, when his salary reached $420,000. He scored a huge hit with the thoroughly entertaining The Egg and I (1947), again teamed with Ms. Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise. In 1941, MacMurray purchased a large parcel of land in Sonoma County, California and began a winery/cattle ranch. He raised his family on the ranch and it became the home to his second wife, June Haver after their marriage in 1954. The winery remains in operation today in the capable hands of their daughter, Kate MacMurray. Despite being habitually typecast as a "nice guy", MacMurray often said that his best roles were when he was cast against type by Billy Wilder. In 1944, he played the role of "Walter Neff", an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity (1944) -- inarguably the greatest role of his entire career. Indeed, anyone today having any doubts as to his potential depth as an actor should watch this film. He did another stellar turn in the "not so nice" category, playing the cynical, spineless "Lieutenant Thomas Keefer" in the 1954 production of The Caine Mutiny (1954), directed by Edward Dmytryk. He gave another superb dramatic performance cast against type as a hard-boiled crooked cop in Pushover (1954).
Despite these and other successes, his career waned considerably by the late 1950s and he finished out the decade working in a handful of non-descript westerns. MacMurray's career got its second wind beginning in 1959 when he was cast as the dog-hating father figure (well, he was a retired mailman) in the first Walt Disney live-action comedy, The Shaggy Dog (1959). The film was an enormous hit and Uncle Walt green lighted several projects around his middle-aged star. Billy Wilder came calling again and he did a masterful turn in the role of Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning comedy-drama The Apartment (1960), with Shirley MacLaine and Jack Lemmon -- arguably his second greatest role and the last one to really challenge him as an actor. Although this role would ultimately be remembered as his last great performance, he continued with the lightweight Disney comedies while pulling double duty, thanks to an exceptionally generous contract, on TV.
MacMurray was cast in 1961 as Professor Ned Brainerd in Disney's The Absent Minded Professor (1961) and in its superior sequel, Son of Flubber (1962). These hit Disney comedies raised his late-career profile considerably and producer Don Fedderson beckoned with My Three Sons (1960) debuting in 1960 on ABC. The gentle sitcom staple remained on the air for 12 seasons (380 episodes). Concerned about his work load and time away from his ranch and family, Fred played hardball with his series contract. In addition to his generous salary, the "Sons" contract was written so that all the scenes requiring his presence to be shot first, requiring him to work only 65 days per season on the show (the contract was reportedly used as an example by Dean Martin when negotiating the wildly generous terms contained in his later variety show contract). This requirement meant the series actors had to work with stand-ins and posed wardrobe continuity issues. The series moved without a hitch to CBS in the fall of 1965 in color after ABC, then still an also-ran network with its eyes peeled on the bottom line, refused to increase the budget required for color production (color became a U.S. industry standard in the 1968 season). This freed him to pursue his film work, family, ranch, and his principal hobby, golf.
Politically very conservative, MacMurray was a staunch supporter of the Republican Party; he joined his old friend Bob Hope and James Stewart in campaigning for Richard Nixon in 1968. He was also widely known one of the most -- to be polite -- frugal actors in the business. Stories floated around the industry in the 60s regarding famous hard-boiled egg brown bag lunches and stingy tips. After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances before retiring to his ranch in 1978. As a result of a long battle with leukemia, MacMurray died of pneumonia at the age of eighty-three in Santa Monica on November 5, 1991. He was buried in the Holy Cross Cemetery in Culver City.1944 in Double Indemnity- Actor
- Director
- Producer
Ray Milland became one of Paramount's most bankable and durable stars, under contract from 1934 to 1948, yet little in his early life suggested a career as a motion picture actor.
Milland was born Alfred Reginald Jones in the Welsh town of Neath, Glamorgan, to Elizabeth Annie (Truscott) and Alfred Jones. He spent his youth in the pursuit of sports. He became an expert rider early on, working at his uncle's horse-breeding estate while studying at the King's College in Cardiff. At 21, he went to London as a member of the elite Household Cavalry (Guard for the Royal Family), undergoing a rigorous 19-months training, further honing his equestrian skills, as well as becoming adept at fencing, boxing and shooting. He won trophies, including the Bisley Match, with his unit's crack rifle team. However, after four years, he suddenly lost his means of financial support (independent income being a requirement as a Guardsman) when his stepfather discontinued his allowance. Broke, he tried his hand at acting in small parts on the London stage.
There are several stories as to how he derived his stage name. It is known, that during his teens he called himself "Mullane", using his stepfather's surname. He may later have suffused "Mullane" with "mill-lands", an area near his hometown. When he first appeared on screen in British films, he was billed first as Spike Milland, then Raymond Milland.
In 1929, Ray befriended the popular actress Estelle Brody at a party and, later that year, visited her on the set of her latest film, The Plaything (1929). While having lunch, they were joined by a producer who persuaded the handsome Welshman to appear in a motion picture bit part. Ray rose to the challenge and bigger roles followed, including the male lead in The Lady from the Sea (1929). The following year, he was signed by MGM and went to Hollywood, but was given little to work with, except for the role of Charles Laughton's ill-fated nephew in Payment Deferred (1932). After a year, Ray was out of his contract and returned to England.
His big break did not come until 1934 when he joined Paramount, where he was to remain for the better part of his Hollywood career. During the first few years, he served an apprenticeship playing second leads, usually as the debonair man-about-town, in light romantic comedies. He appeared with Burns and Allen in Many Happy Returns (1934), enjoyed third-billing as a British aristocrat in the Claudette Colbert farce The Gilded Lily (1935) and was described as "excellent" by reviewers for his role in the sentimental drama Alias Mary Dow (1935). By 1936, he had graduated to starring roles, first as the injured British hunter rescued on a tropical island by The Jungle Princess (1936), the film which launched Dorothy Lamour's sarong-clad career. After that, he was the titular hero of Bulldog Drummond Escapes (1937) and, finally, won the girl (rather than being the "other man") in Mitchell Leisen's screwball comedy Easy Living (1937). He also re-visited the tropics in Ebb Tide (1937), Her Jungle Love (1938) and Tropic Holiday (1938), as well as being one of the three valiant brothers of Beau Geste (1939).
In 1940, Ray was sent back to England to star in the screen adaptation of Terence Rattigan's French Without Tears (1940), for which he received his best critical reviews to date. He was top-billed (above John Wayne) running a ship salvage operation in Cecil B. DeMille's lavish Technicolor adventure drama Reap the Wild Wind (1942), besting Wayne in a fight - much to the "Duke's" personal chagrin - and later wrestling with a giant octopus. Also that year, he was directed by Billy Wilder in a charming comedy, The Major and the Minor (1942) (co-starred with Ginger Rogers), for which he garnered good notices from Bosley Crowther of the New York Times. Ray then played a ghost hunter in The Uninvited (1944), and the suave hero caught in a web of espionage in Fritz Lang's thriller Ministry of Fear (1944).
On the strength of his previous role as "Major Kirby", Billy Wilder chose to cast Ray against type in the ground-breaking drama The Lost Weekend (1945) as dipsomaniac writer "Don Birnam". Ray gave the defining performance of his career, his intensity catching critics, used to him as a lightweight leading man, by surprise. Crowther commented "Mr. Milland, in a splendid performance, catches all the ugly nature of a 'drunk', yet reveals the inner torment and degradation of a respectable man who knows his weakness and his shame" (New York Times, December 3, 1945). Arrived at the high point of his career, Ray Milland won the Oscar for Best Actor, as well as the New York Critic's Award. Rarely given such good material again, he nonetheless featured memorably in many more splendid films, often exploiting the newly discovered "darker side" of his personality: as the reporter framed for murder by Charles Laughton's heinous publishing magnate in The Big Clock (1948); as the sophisticated, manipulating art thief "Mark Bellis" in the Victorian melodrama So Evil My Love (1948) (for which producer Hal B. Wallis sent him back to England); as a Fedora-wearing, Armani-suited "Lucifer", trawling for the soul of an honest District Attorney in Alias Nick Beal (1949); and as a traitorous scientist in The Thief (1952), giving what critics described as a "sensitive" and "towering" performance. In 1954, Ray played calculating ex-tennis champ "Tony Wendice", who blackmails a former Cambridge chump into murdering his wife, in Alfred Hitchcock's Dial M for Murder (1954). He played the part with urbane sophistication and cold detachment throughout, even in the scene of denouement, calmly offering a drink to the arresting officers.
With Lisbon (1956), Ray Milland moved into another direction, turning out several off-beat, low-budget films with himself as the lead, notably High Flight (1957), The Safecracker (1958) and Panic in Year Zero! (1962). At the same time, he cheerfully made the transition to character parts, often in horror and sci-fi outings. In accordance with his own dictum of appearing in anything that had "any originality", he worked on two notable pictures with Roger Corman: first, as a man obsessed with catalepsy in The Premature Burial (1962); secondly, as obsessed self-destructive surgeon "Dr. Xavier" in X: The Man with the X-Ray Eyes (1963)-the Man with X-Ray Eyes, a film which, despite its low budget, won the 1963 Golden Asteroid in the Trieste Festival for Science Fiction.
As the years went on, Ray gradually disposed of his long-standing toupee, lending dignity through his presence to many run-of-the-mill television films, such as Cave in! (1983) and maudlin melodramas like Love Story (1970). He guest-starred in many anthology series on television and had notable roles in Rod Serling's Night Gallery (1969) and the original Battlestar Galactica (1978) (as Quorum member Sire Uri). He also enjoyed a brief run on Broadway, starring as "Simon Crawford" in "Hostile Witness" (1966), at the Music Box Theatre.
In his private life, Ray was an enthusiastic yachtsman, who loved fishing and collecting information by reading the Encyclopedia Brittanica. In later years, he became very popular with interviewers because of his candid spontaneity and humour. In the same self-deprecating vein he wrote an anecdotal biography, "Wide-Eyed in Babylon", in 1976. A film star, as well as an outstanding actor, Ray Milland died of cancer at the age of 79 in March 1986.1945 in The Lost Weekend- Actor
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James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.
In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.
Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his everyman qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.
On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now".1946 in It's a Wonderful Life- Writer
- Actor
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Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.
Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.
Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.
In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).
Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.
Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.
Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.
Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.
In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".
Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).
Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.
Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).
Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.1947 in Monsieur Verdoux- Actor
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Laurence Olivier could speak William Shakespeare's lines as naturally as if he were "actually thinking them", said English playwright Charles Bennett, who met Olivier in 1927. Laurence Kerr Olivier was born in Dorking, Surrey, England, to Agnes Louise (Crookenden) and Gerard Kerr Olivier, a High Anglican priest. His surname came from a great-great-grandfather who was of French Huguenot origin.
One of Olivier's earliest successes as a Shakespearean actor on the London stage came in 1935 when he played "Romeo" and "Mercutio" in alternate performances of "Romeo and Juliet" with John Gielgud. A young Englishwoman just beginning her career on the stage fell in love with Olivier's Romeo. In 1937, she was "Ophelia" to his "Hamlet" in a special performance at Kronborg Castle, Elsinore (Helsingør), Denmark. In 1940, she became his second wife after both returned from making films in America that were major box office hits of 1939. His film was Wuthering Heights (1939), her film was Gone with the Wind (1939). Vivien Leigh and Olivier were screen lovers in Fire Over England (1937), 21 Days Together (1940) and That Hamilton Woman (1941).
There was almost a fourth film together in 1944 when Olivier and Leigh traveled to Scotland with Charles C. Bennett to research the real-life story of a Scottish girl accused of murdering her French lover. Bennett recalled that Olivier researched the story "with all the thoroughness of Sherlock Holmes" and "we unearthed evidence, never known or produced at the trial, that would most certainly have sent the young lady to the gallows". The film project was then abandoned. During their two-decade marriage, Olivier and Leigh appeared on the stage in England and America and made films whenever they really needed to make some money.
In 1951, Olivier was working on a screen adaptation of Theodore Dreiser's novel "Sister Carrie" (Carrie (1952)) while Leigh was completing work on the film version of the Tennessee Williams' play, A Streetcar Named Desire (1951). She won her second Oscar for bringing "Blanche DuBois" to the screen. Carrie (1952) was a film that Olivier never talked about. George Hurstwood, a middle-aged married man from Chicago who tricked a young woman into leaving a younger man about to marry her, became a New York street person in the novel. Olivier played him as a somewhat nicer person who didn't fall quite as low. A PBS documentary on Olivier's career broadcast in 1987 covered his first sojourn in Hollywood in the early 1930s with his first wife, Jill Esmond, and noted that her star was higher than his at that time. On film, he was upstaged by his second wife, too, even though the list of films he made is four times as long as hers.
More than half of his film credits come after The Entertainer (1960), which started out as a play in London in 1957. When the play moved across the Atlantic to Broadway in 1958, the role of "Archie Rice"'s daughter was taken over by Joan Plowright, who was also in the film. They married soon after the release of The Entertainer (1960).1948 in Hamlet- Actor
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One of Hollywood's preeminent male stars of all time, James Cagney was also an accomplished dancer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three (1961). He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime (1981)), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran (1984), in which he played opposite Art Carney.1949 in White Heat- Actor
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Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.1950 in In a Lonely Place- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.1951 in A Streetcar Named Desire