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Born Ryan Thomas Gosling on November 12, 1980, in London, Ontario, Canada, he is the son of Donna (Wilson), a secretary, and Thomas Ray Gosling, a traveling salesman. Ryan was the second of their two children, with an older sister, Mandi. His ancestry is French-Canadian, as well as English, Scottish, and Irish. The Gosling family moved to Cornwall, Ontario, where Ryan grew up and was home-schooled by his mother. He also attended Gladstone Public School and Cornwall Collegiate & Vocational School, where he excelled in Drama and Fine Arts. The family then relocated to Burlington, Ontario, where Ryan attended Lester B. Pearson High School.
Ryan first performed as a singer at talent contests with Mandi. He attended an open audition in Montreal for the TV series "The Mickey Mouse Club" (The All New Mickey Mouse Club (1989)) in January 1993 and beat out 17,000 other aspiring actors for a a spot on the show. While appearing on "MMC" for two years, he lived with co-star Justin Timberlake's family.
Though he received no formal acting training, after "MMC," Gosling segued into an acting career, appearing on the TV series Young Hercules (1998) and Breaker High (1997), as well as the films The Slaughter Rule (2002), Murder by Numbers (2002), and Remember the Titans (2000). He first attracted serious critical attention with his performance as the Jewish neo-Nazi in the controversial film The Believer (2001), which won the Grand Jury Prize at the 2001 Sundance Film Festival. He was cast in the part by writer-director Henry Bean, who believed that Gosling's strict upbringing gave him the insight to understand the character Danny, whose obsessiveness with the Judaism he was born into turns to hatred. He was nominated for an Independent Spirit Award as Best Male Lead in 2002 for the role and won the Golden Aries award from the Russian Guild of Film Critics.
After appearing in the sleeper The Notebook (2004) in 2004, Gosling won the dubious honor of being named one of the 50 Hottest Bachelors by People Magazine. More significantly, he was named the Male Star of Tomorrow at the 2004 Show West convention of movie exhibitors.
Gosling reached a summit of his profession with his performance in Half Nelson (2006), which garnered him an Academy Award nomination as Best Actor. In a short time, he has established himself as one of the finest actors of his generation. Throughout the subsequent decade, he has become all three of an internet fixation, a box office star, and a critical darling, having headlined Blue Valentine (2010), Crazy, Stupid, Love. (2011), Drive (2011), The Ides of March (2011), The Place Beyond the Pines (2012), The Nice Guys (2016), and La La Land (2016). In 2017, he starred in the long-awaited science fiction sequel Blade Runner 2049 (2017), with Harrison Ford.
Ryan has two children with his partner, actress Eva Mendes.- Actress
- Additional Crew
- Soundtrack
Julie Christie, the British movie legend whom Al Pacino called "the most poetic of all actresses," was born in Chabua, Assam, India, on April 14, 1940, the daughter of a tea planter and his Welsh wife Rosemary, who was a painter. The young Christie grew up on her father's plantation before being sent to England for her education. Finishing her studies in Paris, where she had moved to improve her French with an eye to possibly becoming a linguist (she is fluent in French and Italian), the teenager became enamored of the freedom of the Continent. She also was smitten by the bohemian life of artists and planned on becoming an artist before she enrolled in London's Central School of Speech Training. She made her debut as a professional in 1957 as a member of the Frinton Repertory of Essex.
Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. Her true métier as an actress was film, and she made her debut in the science-fiction television series A for Andromeda (1961) in 1961. Her first film was a girlfriend part in the Ealing-like comedy Crooks Anonymous (1962), which was followed up by a larger ingénue role in another comedy, The Fast Lady (1962). The producers of the James Bond series were sufficiently intrigued by the young actress to consider her for the role that subsequently went to Ursula Andress in Dr. No (1962), but dropped the idea because she was not busty enough.
Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress originally cast in Billy Liar (1963). Christie's turn in the film as the free-wheeling Liz was a stunner, and she had her first taste of becoming a symbol if not icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute in Young Cassidy (1965). Charlton Heston wanted her for his film The War Lord (1965), but the studio refused her salary demands.
Although Amercan magazines portrayed Christie as a "newcomer" when she made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965), she actually had considerable work under her professional belt and was in the process of a artistic quickening. Schlesinger called on Christie, whom he adored, to play the role of mode Diana Scott when the casting of Shirley MacLaine fell through. (MacLaine was the sister of the man who would become Christie's long-time paramour in the late 1960s and early '70s, Warren Beatty, whom some, like actor Rod Steiger, believe she gave up her career for. Her "Dr. Zhivago" co-star, Steiger -- a keen student of acting -- regretted that Christie did not give more of herself to her craft.)
As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Awards from the Academy of Motion Picture Arts and Sciences and the British Film Academy. She had arrived, especially as she had followed up "Darling" with the role of Lara in two-time Academy Award-winning director David Lean's adaptation of Boris Pasternak's Doctor Zhivago (1965), one of the all-time box-office champs.
Christie was now a superstar who commanded a price of $400,000 per picture, a fact ruefully noted in Charlton Heston's diary (his studio had balked at paying her then-fee of $35,000). More interested in film as an art form than in consolidating her movie stardom, Christie followed up "Zhivago" with a dual role in Fahrenheit 451 (1966) for director François Truffaut, a director she admired. The film was hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. The film is an interesting failure.
Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967), which also featured two great English actors, Peter Finch and Alan Bates. It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too "mod" and thus untrue to one of Hardy's classic tales of fate. Some said that her contemporary Vanessa Redgrave would have been a better choice as Bathsheba, but while it is true that Redgrave is a very fine actress, she lacked the sex appeal and star quality of Christie, which makes the story of three men in love with one woman more plausible, as a film.
Although no one then knew it, the period 1967-68 represented the high-water mark of Christie's career. Fatefully, like the Hardy heroine she had portrayed, she had met the man who transformed her life, undermining her pretensions to a career as a movie star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of "Madding Crowd" and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974.
Christie's last box-office hit in which she was the top-liner was Petulia (1968) for Richard Lester, a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an "arch-kook" who was emblematic of the '60s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.
And she walked away.
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress (success at the box office being a guarantee of the best parts, even in art films.) She turned down the lead in They Shoot Horses, Don't They? (1969) and Anne of the Thousand Days (1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in Calfiornia, renting a beach house at Malibu. She did return to form in Joseph Losey's The Go-Between (1971), a fine picture with a script by the great Harold Pinter, and she won another Oscar nomination as the whore-house proprietor in Robert Altman's minor classic McCabe & Mrs. Miller (1971) that she made with her lover Beatty. However, like Beatty himself, she did not seek steady work, which can be professional suicide for an actor who wants to maintain a standing in the first rank of movie stars.
At the same time, Julie Christie turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the landmark mystery-horror film Don't Look Now (1973), but that likely was as a favor to the director, Nicolas Roeg, who had been her cinematographer on "Fahrenheit 451," "Far From the Madding Crowd" and "Petulia." In the mid '70s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975) (which she regretted due to its depiction of women) and Heaven Can Wait (1978).
Christie was still enough of a star, due to sheer magnetism rather than her own pull at the box-office, to be offered $1 million to play the Jacqueline Kennedy Onassis character in The Greek Tycoon (1978) (a part eventually played by Jacqueline Bisset to no great acclaim). She signed for but was forced to drop out of the lead in Agatha (1979) (which was filled by Vanessa Redgrave) after she broke a wrist roller-skating (a particularly southern Californian fate!). She then signed for the female lead in American Gigolo (1980) when Richard Gere was originally attached to the picture, but dropped out when John Travolta muscled his way into the lead after making twin box-office killings as disco king Tony Manera in Saturday Night Fever (1977) and greaser Danny Zuko in Grease (1978). Christie could never have co-starred with such a camp figure of dubious talent. When Travolta himself dropped out and Gere was subbed back in, it was too late for Christe to reconsider, as the part already had been filled by model-actress Lauren Hutton. It would take 15 years for Christie and Gere to work together.
Finally, the end of the American phase of her movie career was realized when Christie turned down the part of Louise Bryant in Reds (1981), a part written by Warren Beatty with her in mind, as she felt an American should play the role. (Beatty's latest lover, Diane Keaton, played the part and won a Best Actress Oscar nomination.) Still, she remained a part of the film, Beatty's long-gestated labor of love, as it is dedicated to "Jules."
Julie Christie moved back to the UK and become the UK's answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. The parts she did take were primarily driven by her social consciousness, such as appearing in Sally Potter's first feature-length film, The Gold Diggers (1983) which was not a remake of the old Avery Hopwood's old warhorse but a feminist parable made entirely by women who all shared the same pay scale. Roles in The Return of the Soldier (1982) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983) seemed to herald a return to form, but Christie -- as befits such a symbol of the freedom and lack of conformity of the '60s -- decided to do it her way. She did not go "careering," even though her unique talent and beauty was still very much in demand by filmmakers.
At this point, Christie's movie career went into eclipse. Once again, she was particularly choosy about her work, so much so that many came to see her, essentially, as retired. A career renaissance came in the mid-1990s with her turn as Gertrude in Kenneth Branagh's ambitious if not wholly successful Hamlet (1996). As Christie said at the time, she didn't feel she could turn Branagh down as he was a national treasure. But the best was yet to come: her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997), which brought her rave notices. She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Ever the iconoclast, she was visibly relieved, upon the announcement of the award, to learn that she had lost!
Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, first in Wales, then in Ojai, California, and now in London's East End, before marrying in January 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's "Old Times", which garnered her superb reviews.
In the decade since "Afterglow," she has worked steadily on film in supporting roles. Christie -- an actress who eschewed vulgar stardom -- proved to be an inspiration to her co-star Sarah Polley, the remarkably talented Canadian actress with a leftist political bent who also abhors Hollywood. Of her co-star in No Such Thing (2001) and The Secret Life of Words (2005), Polley says that Christie is uniquely aware of her commodification by the movie industry and the mass media during the 1960s. Not wanting to be reduced to a product, she had rebelled and had assumed control of her life and career. Her attitude makes her one of Polley's heroes, who calls her one of her surrogate mothers. (Polley lost her own mother when she was 11 years old.)
Both Christie and Polley are rebels. Sarah Polley had walked off the set of the big-budget movie that was forecast as her ticket to Hollywood stardom, Almost Famous (2000), to have a different sort of life and career. She returned to her native Canada to appear in the low-budget indie The Law of Enclosures (2000), a prescient art film in that director John Greyson offset the drama with a background of a perpetual Gulf War three years before George W. Bush invaded Iraq, touching off the second-longest war in U.S. history. Taking a hiatus from acting, Polley went to Norman Jewison's Canadian Film Centre to learn to direct, and direct she has, making well-regarded shorts before launching her feature film debut, Away from Her (2006), which was shot and completed in 2006 but held for release until 2007 by its distributor.
Polley, who had longed to be a writer since she was a child actress on the set of the quaint family show Avonlea (1990) wrote the screenplay for her adaptation of Alice Munro's short story "The Bear Went Over the Mountain" with only one actress in mind: Julie Christie. Polley had first read the short story on a flight back from Iceland, where she had made "No Such Thing" with Christie, and as she read, it was Julie whom she pictured as Fiona, the wife of a one-time philandering husband, who has become afflicted with Alzheimer's disease and seeks to save her hubby the pain of looking after her by checking herself into a home.
After finishing the screenplay, it took months to get Christie to commit to making the film. Julie turned her down after reading the script and pondering it for a couple of months, saying "No" even though she liked the script. Polley then had to "twist her arm" for another couple of months. But alas, Julie has a weakness for national treasures: Just like with Branagh a decade ago, the legendary Julie Christie could not deny the Great White North's Sarah Polley, and commit she did. Polley then found out why Christie is so reticent about making movies:
"She gives all of herself to what she does. Once she said yes, she was more committed than anybody."
According to David Germain, a cinema journalist who interviewed Christie for the Associated Press, "Polley and Christie share a desire to do interesting, unusual work, which generally means staying away from Hollywood.
"'It's been a kind of greed and a kind of egotism, but it's not necessarily wanting to avoid the Hollywood thing, but in fact, it incorporates wanting to avoid the Hollywood thing, because the Hollywood thing is so inevitably not original,' Christie said. 'It's avoiding non-originality, so that means you're really down to a very small choice.'"
The collaboration between the two rebels yielded a small gem of a film. Lions Gate Films was so impressed, it purchased the American distribution rights to the film in 2006, then withheld it until the following year to build up momentum for the awards season.
Julie Christie's performance in "Away From Her" is superb, and already has garnered her the National Board of Review's Best Actress Award. She will likely receive her fourth Academy Award nomination, and quite possibly her second Oscar, for her unforgettable performance, a labor of love she did for a friend.
We, the Julie Christie fans who have waited decades for the handful of films made by the numinous star: Would we have wanted it any other way? We are the Red Sox fans of the movies, once again rewarded with a world-class masterpiece by our heroine. Perhaps, like all human beings, we want more, but we have learned over the last thirty-five years to be content with the diamonds that are Julie's leading performances that she gives just once a decade, content to feel that these are a surfeit of riches, our surfeit of riches, so great is their luminescence.- Actress
- Producer
- Soundtrack
The French actress Ludivine Sagnier was born on July 3, 1979 in La Celle-Saint-Cloud, in France's Yvelines department. Ludivine studied acting as a young girl and had made her movie debut at the age 10 in Les maris, les femmes, les amants (1989). She has established her reputation as one of the brightest young stars in French and international cinema in her collaborations with French filmmaker François Ozon, starting with Water Drops on Burning Rocks (2000) (based on a screenplay by Rainer Werner Fassbinder, 8 Women (2002) and in Swimming Pool (2003). For her performance in 8 Women (2002), she won a Cesar Award nomination (the French equivalent of the Oscar) and the Romy Schneider Award that is given each year to a promising young French actress. In that film, Sagnier proved her acting prowess by distinguishing herself in a stellar cast that included the legendary actresses Danielle Darrieux, Catherine Deneuve and Isabelle Huppert as well as Emmanuelle Béart and Fanny Ardant. Along with these grand ladies of the French cinema, Sagnier won the Best Actress Award from the European Film Academy Award and the Silver Bear Award at the 2002 Berlin International Film Festival.
Swimming Pool (2003) represented her crossover into English-language cinema. (Sagnier played her first English language role in Toothache (2006).) Marketed in the U.S. with a comely shot of Sagnier sunbathing alongside a pool, Ozon's film became one of the biggest-grossing foreign movies in the U.S. during 2003. So far, she has turned down large monetary offers to appear in American films as the foreign girlfriend of young American superstars, as she remains committed to French cinema.
Sagnier became a mother on March 25, 2005, when she gave birth to a daughter named Bonnie by her boyfriend, French actor Nicolas Duvauchelle.- Actor
- Director
- Writer
Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actress
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Since making her uncredited debut as a dancer in Beatlemania (1981), Gina Gershon has established herself as a character actress and one of the leading icons of American camp. For it was fourteen years after her movie debut that Gina made movie history as the predatory bisexual who was the leading light of a Las Vegas leg-line in director Paul Verhoeven's kitsch classic Showgirls (1995). Exploding out of a plaster-of-Paris volcano clad in nothing but body makeup and a G-string, Gina Gershon obtained cinema immortality. After Showgirls (1995), she solidified her reputation, playing a lesbian sexpot in the Wachowskis' neo-noir Bound (1996).
Gina Gershon was born in the Los Angeles suburb of Woodland Hills, the last in a brood of three kids. Her mother, Mickey (Koppel), worked as an interior decorator, and her father, Stanley Gershon, was a salesman and worked in the import/export business. Her paternal grandparents were from Russian Jewish families, and her maternal grandparents were born in Holland and Belgium, both of them to Jewish families from Poland. Gina was raised in the San Fernando Valley, and got the acting bug early, appearing at the age of seven in a school production of Bye Bye Birdie (1963). Because of her acting ambitions, her parents moved to Beverly Hills so Gina could attend Beverly Hills High, where she indulged her acting jones by appearing in a student production of The Music Man (1962). Her first love, she says, is singing.
After graduating from high school in 1980, she attended Emerson College in Boston, but took a part in the musical "Runaways". She transferred to New York University, where her official biography says she studied philosophy and psychology, but she graduated from the Tisch School of the Arts, taking a bachelor of fine arts degree in drama in 1983. In New York City, while perfecting her craft, she co-founded the theater company Naked Angels with Helen Slater.
Her big-screen breakthrough came with a part in the 1986 "Brat Pack" teenage hit Pretty in Pink (1986). She also had parts in the Tom Cruise vehicle Cocktail (1988) and Arnold Schwarzenegger's Red Heat (1988). Of this period, she says, "One of my first gigs, a movie called Cocktail (1988), I found myself at 8 in the morning, in bed, practically naked, having to make out with Tom Cruise; hmmmm... movie business - so far, so good".
Citing Frank Sinatra's song "My Way" as an inspiration, she says that following Cocktail (1988), "I was fortunate enough to play many diversified roles in film, television and stage. Not always to the liking of my managers and agents, but I always did what I wanted...." She played Nancy Barbato Sinatra, Frank's first wife, in the TV miniseries Sinatra (1992).
Gina Gershon became a celebrity in Showgirls (1995). The following year, Gershon solidified her claim on second-tier stardom playing the calculating lesbian "Corky" in the crime movie Bound (1995). She never did capitalize on her mid-1990s breakthrough, but Gershon is established as a character actress and is never out of work, unlike most of her female peers who started out in the industry at the same time. Though no classic beauty, the talented thespian remains gainfully employed while many actresses of her vintage are out of work as she is possessed of a unique look and smoldering sex appeal that comes across on camera.
Gershon is versatile, too, as at home on stage as she is in front of the camera. After appearing in off-Broadway and regional theater productions, she made her Broadway debut as a replacement in Sam Mendes' revival of Cabaret (1972) in January 2001. For six months, she played the key role of "Sally Bowles", returning that October to reprise the role for another month. In 2008, she once again appeared on Broadway in the revival of the farce "Boeing Boeing" on Broadway, which won the Tony award for Best Revival.
Gina Gershon also is a children's book writer. In 2008, Putmam Juvenile published her "Camp Creepy Time", a tale of a boy who discovers aliens at his summer camp, which she co-wrote with her brother, Dann Gershon. "Camp Creepy Time" recently was optioned by DreamWorks, which plans to turn it into a movie. In 2008, she also released "In Search Of Cleo", a CD featuring nine songs which she wrote or co-wrote.- Actor
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Film and stage actor and theater director Philip Seymour Hoffman was born in the Rochester, New York, suburb of Fairport to Marilyn (Loucks), a lawyer and judge, and Gordon Stowell Hoffman, a Xerox employee, and was mostly of German, Irish, English and Dutch ancestry. After becoming involved in high school theatrics, he attended New York University's Tisch School of the Arts, graduating with a B.F.A. degree in Drama in 1989.
He made his feature film debut in the indie production Triple Bogey on a Par Five Hole (1991) as Phil Hoffman, and his first role in a major release came the next year in My New Gun (1992). While he had supporting roles in some other major productions like Scent of a Woman (1992) and Twister (1996), his breakthrough role came in Paul Thomas Anderson's Boogie Nights (1997).
He quickly became an icon of indie cinema, establishing a reputation as one of the screen's finest actors, in a variety of supporting and second leads in indie and major features, including Todd Solondz's Happiness (1998), Flawless (1999), The Talented Mr. Ripley (1999), Paul Thomas Anderson's Magnolia (1999), Almost Famous (2000) and State and Main (2000). He also appeared in supporting roles in such mainstream, big-budget features as Red Dragon (2002), Cold Mountain (2003) and Mission: Impossible III (2006).
Hoffman was also quite active on the stage. On Broadway, he has earned two Tony nominations, as Best Actor (Play) in 2000 for a revival of Sam Shepard's "True West" and as Best Actor (Featured Role - Play) in 2003 for a revival of Eugene O'Neill (I)'s "Long Day's Journey into Night". His other acting credits in the New York theater include "The Seagull" (directed by Mike Nichols for The New York Shakespeare Festival), "Defying Gravity", "The Merchant of Venice" (directed by Peter Sellars), "Shopping and F*@%ing" and "The Author's Voice" (Drama Desk nomination).
He was the Co-Artistic Director of the LAByrinth Theater Company in New York, for which he directed "Our Lady of 121st Street" by Stephen Adly Guirgis. He also directed "In Arabia, We'd All Be Kings" and "Jesus Hopped the A Train" by Guirgis for LAByrinth, and "The Glory of Living" by Rebecca Gilman at the Manhattan Class Company.
Hoffman consolidated his reputation as one of the finest actors under the age of 40 with his turn in the title role of Capote (2005), for which he won the Los Angeles Film Critics Award as Best Actor. In 2006, he was awarded the Best Actor Oscar for the same role.
On February 2, 2014, Philip Seymour Hoffman was found dead in an apartment in Greenwich village, New York. Investigators found Hoffman with a syringe in his arm and two open envelopes of heroin next to him. Mr. Hoffman was long known to struggle with addiction. In 2006, he said in an interview with "60 Minutes" that he had given up drugs and alcohol many years earlier, when he was age 22. In 2013, he checked into a rehabilitation program for about 10 days after a reliance on prescription pills resulted in his briefly turning again to heroin.- Actress
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The actress Wendie Malick was born in Buffalo, New York, in 1950 and attended Ohio Wesleyan University, from which she graduated in 1972. The 5-foot, 10-inch beauty was a Wilhelmina model in the 1970s, giving it up to go to work for Buffalo-area Congressman Jack Kemp. She quickly left Washington, DC, behind to act in the theater.
She appeared as Judith Tupper Stone in the early 1990s on the HBO comedy Dream On (1990) for which she won four CableACE Awards as Best Actress in a Comedy Series. Malick has proved a gifted comedienne with great comic timing and reached the height of her career as one of the stars of the sitcom Just Shoot Me! (1997). Malick was hilarious as the beautiful fashion editor Nina Van Horn, a neurotic and pretentious ex-model struggling with middle age. For her work on the series, Malick won a Golden Globe and two Emmy Award nominations as Best Supporting Actress in a Comedy Series.
On television, she has also had regular roles in the series Trauma Center (1983) and Good Company (1996) and recurring roles on NYPD Blue (1993), Anything But Love (1989), Baywatch (1989), Kate & Allie (1984), and Frasier (1993). She also starred in several made-for-TV movies, including Paper Dolls (1982), Dynasty: The Reunion (1991) and Perfect Body (1997). She also starred in North Shore Fish (1997) on cable TV, based on a role which she originated on stage. Malick's work has included roles in the movies The American President (1995), Scrooged (1988), and Bugsy (1991). With her distinctive voice, she is in high demand for voice-over work.- Actor
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Veteran actor and director Robert Selden Duvall was born on January 5, 1931, in San Diego, CA, to Mildred Virginia (Hart), an amateur actress, and William Howard Duvall, a career military officer who later became an admiral. Duvall majored in drama at Principia College (Elsah, IL), then served a two-year hitch in the army after graduating in 1953. He began attending The Neighborhood Playhouse School of the Theatre In New York City on the G.I. Bill in 1955, studying under Sanford Meisner along with Dustin Hoffman, with whom Duvall shared an apartment. Both were close to another struggling young actor named Gene Hackman. Meisner cast Duvall in the play "The Midnight Caller" by Horton Foote, a link that would prove critical to his career, as it was Foote who recommended Duvall to play the mentally disabled "Boo Radley" in To Kill a Mockingbird (1962). This was his first "major" role since his 1956 motion picture debut as an MP in Somebody Up There Likes Me (1956), starring Paul Newman.
Duvall began making a name for himself as a stage actor in New York, winning an Obie Award in 1965 playing incest-minded longshoreman "Eddie Carbone" in the off-Broadway revival of Arthur Miller's "A View from the Bridge", a production for which his old roommate Hoffman was assistant director. He found steady work in episodic TV and appeared as a modestly billed character actor in films, such as Arthur Penn's The Chase (1966) with Marlon Brando and in Robert Altman's Countdown (1967) and Francis Ford Coppola's The Rain People (1969), in both of which he co-starred with James Caan.
He was also memorable as the heavy who is shot by John Wayne at the climax of True Grit (1969) and was the first "Maj. Frank Burns", creating the character in Altman's Korean War comedy M*A*S*H (1970). He also appeared as the eponymous lead in George Lucas' directorial debut, THX 1138 (1971). It was Francis Ford Coppola, casting The Godfather (1972), who reunited Duvall with Brando and Caan and provided him with his career breakthrough as mob lawyer "Tom Hagen". He received the first of his six Academy Award nominations for the role.
Thereafter, Duvall had steady work in featured roles in such films as The Godfather Part II (1974), The Killer Elite (1975), Network (1976), The Seven-Per-Cent Solution (1976) and The Eagle Has Landed (1976). Occasionally this actor's actor got the chance to assay a lead role, most notably in Tomorrow (1972), in which he was brilliant as William Faulkner's inarticulate backwoods farmer. He was less impressive as the lead in Badge 373 (1973), in which he played a character based on real-life NYPD detective Eddie Egan, the same man his old friend Gene Hackman had won an Oscar for playing, in fictionalized form as "Popeye Doyle" in The French Connection (1971).
It was his appearance as "Lt. Col. Kilgore" in another Coppola picture, Apocalypse Now (1979), that solidified Duvall's reputation as a great actor. He got his second Academy Award nomination for the role, and was named by the Guinness Book of World Records as the most versatile actor in the world. Duvall created one of the most memorable characters ever assayed on film, and gave the world the memorable phrase, "I love the smell of napalm in the morning!"
Subsequently, Duvall proved one of the few established character actors to move from supporting to leading roles, with his Oscar-nominated turns in The Great Santini (1979) and Tender Mercies (1983), the latter of which won him the Academy Award for Best Actor. Now at the summit of his career, Duvall seemed to be afflicted with the fabled "Oscar curse" that had overwhelmed the careers of fellow Academy Award winners Luise Rainer, Rod Steiger and Cliff Robertson. He could not find work equal to his talents, either due to his post-Oscar salary demands or a lack of perception in the industry that he truly was leading man material. He did not appear in The Godfather Part III (1990), as the studio would not give in to his demands for a salary commensurate with that of Al Pacino, who was receiving $5 million to reprise Michael Corleone.
His greatest achievement in his immediate post-Oscar period was his triumphant characterization of grizzled Texas Ranger Gus McCrae in the TV mini-series Lonesome Dove (1989), for which he received an Emmy nomination. He received a second Emmy nomination and a Golden Globe for his portrayal of Soviet dictator Joseph Stalin in Stalin (1992), and a third Emmy nomination playing Nazi war criminal Adolf Eichmann in The Man Who Captured Eichmann (1996).
The shakeout of his career doldrums was that Duvall eventually settled back into his status as one of the premier character actors in the industry, rivaled only by his old friend Gene Hackman. Duvall, unlike Hackman, also has directed pictures, including the documentary We're Not the Jet Set (1974), Angelo My Love (1983) and Assassination Tango (2002). As a writer-director, Duvall gave himself one of his most memorable roles, that of the preacher on the run from the law in The Apostle (1997), a brilliant performance for which he received his third Best Actor nomination and fifth Oscar nomination overall. The film brought Duvall back to the front ranks of great actors, and was followed by a Best Supporting Actor Oscar nod for A Civil Action (1998).
Robert Duvall will long be remembered as one of the great naturalistic American screen actors in the mode of Spencer Tracy and his frequent co-star Marlon Brando. His performances as "Boo Radley" in To Kill a Mockingbird (1962), "Jackson Fentry" in Tomorrow (1972), "Tom Hagen" in the first two "Godfather" movies, "Frank Hackett" in Network (1976), "Lt. Col. Kilgore" in Apocalypse Now (1979), "Bull Meechum" in The Great Santini (1979), "Mac Sledge" in Tender Mercies (1983), "Gus McCrae" in Lonesome Dove (1989) and "Sonny Dewey" in The Apostle (1997) rank as some of the finest acting ever put on film. It's a body of work that few actors can equal, let alone surpass.- Director
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Wim Wenders is an Oscar-nominated German filmmaker who was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland (Federal Republic of Germany, known colloquially as West Germany until reunification). At university, Wenders originally studied to become a physician before switching to philosophy before terminating his studies in 1965. Moving to Paris, he intended to become a painter.
He fell in love with the cinema but failed to gain admission to the French national film school. He supported himself as an engraver while attending movie houses. Upon his return to West Germany in 1967, he was employed by United Artists at its Düsseldorf office before he was accepted by the University of Television and Film Munich school for its autumn 1967 semester, where he remained until 1970. While attending film school, he worked as a newspaper film critic. In addition to shorts, he made a feature film as part of his studies, Summer in the City (1971).
Wenders gained recognition as part of the German New Wave of the 1970s. Other directors that were part of the New German Cinema were Rainer Werner Fassbinder and Werner Herzog. His second feature, a film made from Peter Handke's novel The Goalie's Anxiety at the Penalty Kick (1972), brought him acclaim, as did Alice in the Cities (1974) and Kings of the Road (1976). It was his 1977 feature The American Friend (1977) ("The American Friend"), starring Dennis Hopper as Patricia Highsmith's anti-hero Tom Ripley, that represented his international breakthrough. He was nominated for the Palme d'Or at the 1977 Cannes Film Festival for "The American Friend", which was cited as Best Foreign Film by the National Board of Review in the United States.
Francis Ford Coppola, as producer, gave Wenders the chance to direct in America, but Hammett (1982) (1982) was a critical and commercial failure. However, his American-made Paris, Texas (1984) (1984) received critical hosannas, winning three awards at Cannes, including the Palme d'Or, and Wenders won a BAFTA for best director. "Paris, Texas" was a prelude to his greatest success, 1987's Wings of Desire (1987) ("Wings of Desire"), which he made back in Germany. The film brought him the best director award at Cannes and was a solid hit, even spawning an egregious Hollywood remake.
Wenders followed it up with a critical and commercial flop in 1991, Until the End of the World (1991) ("Until the End of the World"), though Faraway, So Close! (1993) won the Grand Prize of the Jury at Cannes. Still, is reputation as a feature film director never quite recovered in the United States after the bomb that was "Until the End of the World." Since the mid-1990s, Wenders has distinguished himself as a non-fiction filmmaker, directing several highly acclaimed documentaries, most notably Buena Vista Social Club (1999) and Pina (2011), both of which brought him Oscar nominations.- Actress
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January Jones was born on January 5, 1978 in Sioux Falls, South Dakota. She is the daughter of Karen Sue (née Cox), a sporting goods store manager, and Marvin Roger Jones, a gym teacher and fitness director. She is of Czech, Danish, English, Welsh, and German ancestry. She was named after the character January Wayne in Jacqueline Susann's potboiler novel turned film, Once Is Not Enough (1975). She has two sisters, Jacey Jones and Jina Jones].
Her family moved to the small town of Hecla, South Dakota, with a population of just some 400 souls in 1979, when she was one year old; they moved back to Sioux Falls in 1986. After graduating from Roosevelt High School, she moved to New York City to become a model. Despite her stature (5'6", which is short for a fashion model), she got modeling gigs, including Abercrombie & Fitch ads. However, modeling was just a means to an end, to get out of South Dakota and avoid going to college.
She got her first taste of acting from TV commercials and found that she had flair for it, even though she did not act in high school and had no training. January appeared in a couple of television pilots and a cable television series before making her big screen debut in All the Rage (1999), an indie that never got a real release. She followed it up with a small role in the teen thriller The Glass House (2001). Her actual debut in the sense of attracting attention was in the near silent role of the beauty who entices Jane Fonda's son, Troy Garity, in the Bruce Willis-Cate Blanchett-Billy Bob Thornton comedy Bandits (2001). It was not a career-making part. At the time the movie was released, she was ending a three-year relationship with Ashton Kutcher.
Small roles followed, including a "don't blink or you won't see me" part in the Adam Sandler-Jack Nicholson comedy Anger Management (2003). She gained some career traction with a good role in another comedy, American Wedding (2003), a sequel to American Pie (1999). Until she landed the part on Mad Men (2007), which made its debut on AMC in 2007, her career was steady but undistinguished. "I choose roles that are not me", January has said. The role of Betty Draper has garnered her two Golden Globe nominations and an Emmy nomination as Best Actress. Her cool, Grace Kelly-ish blonde ice queen looks -- counterpointed by her soul burning in her bright blue eyes -- have established her as a retro icon of the 21st Century.- Actor
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Dudley Moore, the gifted comedian who had at least three distinct career phases that brought him great acclaim and success, actually started out as a musical prodigy as a child. Moore -- born in Dagenham, Essex, England to working class parents in 1935 -- won a music scholarship to Magdalen College, Oxford, to study the organ. At university, he also studied composition and became a classically trained pianist, though his forte on the piano for public performance was jazz. After graduating from Magdalen College in 1958, Moore was offered a position as organist at King's College, Cambridge, but turned it down in order to go to London and pursue a music and acting career. Fellow Oxonian Alan Bennett (Exter Colelge, B.A., Medieval History, 1957) had already recommended him to John Bassett, who was putting together a satirical comedy revue called "Beyond the Fringe". "Beyond the Fringe" was to be Moore's first brush with fame, along with co-stars Bennett, future theatrical director Jonathan Miller (now Sir Jonathan, who studied Medicine at Cambridge and was a physician), and Peter Cook, who was destined to become Moore's comic partner during the 1960s and '70s.
It was Miller who had recommended Cook for "Beyond the Fringe", in much the same way that Bennett had bird-dogged Moore. Cook, who had studied modern languages at Cambridge, had been part of the famous Cambridge theatrical, the Footlights revue in 1959, had subsequently gone to London to star in a West End revue for Kenneth Williams, "Pieces of Eight". This old-fashioned review was such a success there was a sequel, "One Over the Eight". He was advised by his agent not to star in the Fringe with the three others as he was a professional, whereas they were amateurs. Ironically, the great success of "Beyond the Fringe", which was a new kind of satirical comedy, would doom the very old-fashioned reviews that Cook had just tasted success in. "Beyond the Fringe" not only won great acclaim in the UK, but it was a hit in the U.S.. The four won a special Tony Award in 1963 for their Broadway production of "Beyond the Fringe" and there was a television program made of the revue in 1964.
Moore and Cook were offered the TV show Not Only... But Also (1965) by the BBC in 1965. Peter Cook was on as a guest. Their pairing was so successful, it enjoyed a second season in 1966 and a third in 1970. They were particularly funny as the working-class characters "Pete" and "Dud". The duo then broke into the movies, including The Wrong Box (1966) and Bedazzled (1967). In 1974, the duo won their second Tony Award for their show "Good Night", which was the stage version of their TV series "Not Only... But Also".
In the mid- to late 1970s, they issued three comic albums in the guise of the characters "Derek" and "Clive" (Moore and Cook, respectively), two lavatory attendants that many viewed as reincarnations of their earlier TV characters "Pete" and "Dud". The albums, ad-libbed in a recording studio while the two drank vast quantities of alcohol, were noted at the time for their obscenity. Their typical routine was a stream-of-consciousness fugue by Cook, interspersed with interjections by Moore. With their obscenity-laden, free-formed riffs, Derke and Clive presaged the more free-wheeling shock comedy of the 1980s and '90s.
They subsequently split up as Moore could no longer tolerate Cook's alcoholism. Under the influence, Cook would become abusive towards Moore, whose acting career was undergoing a renaissance in the late '70s while his career has stalled. Ironically, it was playing an alcoholic that brought Moore to the summit of his success as an actor.
After marrying American actress Tuesday Weld in 1975, Moore moved to the U.S. and began a second career as a solo screen comedian, stealing the show from Chevy Chase and Goldie Hawn as the horny conductor in the movie comedy, Foul Play (1978). When George Segal dropped out of the movie 10 (1979), director Blake Edwards cast Moore in the lead role as the composer undergoing a mid-life crisis. It was a huge hit, but was surpassed by his Oscar-nominated turn as the dipsomaniac billionaire in Arthur (1981). In the early 1980s, Moore was a top box office attraction. In 1983, the National Alliance of Theater Owners named him the Top Box Office Star-Male of the Year.
His career began petering out after he turned down the lead in Splash (1983), a role that helped establish Tom Hanks as a top movie comedian and position him for his transition into movie drama and super-stardom. As Hanks star waxed, Moore's star waned, and by 1985 he was reduced to playing an elf in Santa Claus: The Movie (1985), one of the all time turkeys. Even a second turn as "Arthur" in Arthur 2: On the Rocks (1988) couldn't revive his box office, the dependent clause of the title all too well describing his career. His TV series Dudley (1993) was a bust, and the 1990s proved a wasteland for the once-honored and prosperous comedian.
Moore was deeply affected by the January 1995 death of Peter Cook by a gastrointestinal hemorrhage at the age of 57. Moore organized a two-day memorial to Cook in Los Angeles that was held in November 1995. Less than four years later, in September 1999, Moore announced that he was afflicted with progressive supra-nuclear palsy, a disease for which there is no treatment.
Dudley Moore was invested as a Commander of the Order of The British Empire (one step below knighthood) in June 2001. Moore personally attended the ceremony at Buckingham Palace to accept his CBE from Prince Charles, the Prince of Wales (later King Charles III), despite being unable to speak and being wheelchair-bound. He died in Watchung, New Jersey on March 27, 2002, a month shy of his 67th birthday, from the pneumonia related to progressive supra-nuclear palsy.
Dudley Moore was married four times, to actresses Suzy Kendall, Tuesday Weld, Brogan Lane and Nicole Rothschild, and had two sons, one with Tuesday Weld and one with Nicole Rothschild.- Actress
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Academy Award-winning actress Marion Cotillard was born on September 30, 1975 in Paris. Cotillard is the daughter of Jean-Claude Cotillard, an actor, playwright and director, and Niseema Theillaud, an actress and drama teacher. Her father's family is from Brittany.
Raised in Orléans, France, she made her acting debut as a child with a role in one of her father's plays. She studied drama at the Conservatoire d'Art Dramatique in Orléans. After small appearances and performances in theater, Cotillard had occasional and minor roles in TV series such as Highlander (1992) and Extrême limite (1994), but her career as a film actress began in the mid-1990s. While still a teenager, Cotillard made her cinema debut at the age of 18 in the film L'histoire du garçon qui voulait qu'on l'embrasse (1994), and had small but noticeable roles in films such as Arnaud Desplechin's My Sex Life... or How I Got Into an Argument (1996) and Coline Serreau's comedy The Green Planet (1996).
In 1996, she had her first lead role in the TV film Chloé (1996), playing the title role - a teenage runaway who is forced into prostitution. Cotillard co-starred opposite Anna Karina, the muse of the Nouvelle Vague.
In 1997, she won her first film award at the Festival Rencontres Cinématographiques d'Istres in France, for her performance as the young imprisoned Nathalie in the short film Affaire classée (1997). Her first prominent screen role was Lilly Bertineau in Gérard Pirès's box-office hit Taxi (1998), a role which she reprised in two sequels: Taxi 2 (2000) and Taxi 3 (2003), this role earned her first César award nomination (France's equivalent to the Oscar) for Most Promising Actress in 1999.
In 1999, Cotillard starred as Julie Bonzon in the Swiss war drama War in the Highlands (1998). For her performance in the film, she won the Best Actress award at the Autrans Film Festival in France. In 2001, Marion starred in Pretty Things (2001) as the twin sisters Marie and Lucie, and was nominated for her second César award for Most Promising Actress.
Cotillard's breakthrough in France came in 2003, when she starred in Yann Samuell's dark romantic comedy Love Me If You Dare (2003), in which she played Sophie Kowalsky, the daughter of Polish immigrants who lives a love-hate relationship with her childhood friend. The film was a box-office hit in France, became a cult film abroad and led Cotillard to bigger projects.
Her first Hollywood movie was Tim Burton's Big Fish (2003), in which she played Joséphine, the wife of William Bloom (played by Billy Crudup). A few years later, Marion starred in Ridley Scott's A Good Year (2006) playing Fanny Chenal, a French café owner who falls in love with Russell Crowe's character. In 2004, she won the Chopard Thophy of Female Revelation at the Cannes Film Festival. In 2005, Cotillard won the César award for Best Supporting Actress for her performance of Tina Lombardi in Jean-Pierre Jeunet's A Very Long Engagement (2004).
In 2007, Cotillard received international recognition for her iconic portrayal of Édith Piaf in La Vie En Rose (2007). Director Olivier Dahan cast Cotillard to play the legendary French singer because to him, her eyes were like those of "Piaf". The fact that she can sing also helped Cotillard land the role of "Piaf", although most of the singing in the film is that of Piaf's. The role won Cotillard the Academy Award for Best Actress along with a César, a Lumière Award, a BAFTA Award, and a Golden Globe. That made her only the second actress to win an acting Oscar performing in a language other than English next to Sophia Loren (Two Women (1960)). Only two male performers (Roberto Benigni for Life Is Beautiful (1997) and Robert De Niro for The Godfather Part II (1974)) have won an Oscar for solely non-English parts. Trevor Nunn called her portrayal of "Piaf" "one of the greatest performances on film ever". At the Berlin International Film Festival, where the film premiered, Cotillard was given a 15-minute standing ovation. When she won the César, Alain Delon presented the award and announced the winner as "La Môme Marion" (The Kid Marion), he also praised her at the stage saying: "Marion, I give you this César. I think this César is for a great great actress, and I know what I'm talking about".
Cotillard has worked much more frequently in English-language movies following her Academy Award recognition. In 2009, she acted opposite Johnny Depp in Michael Mann's Public Enemies (2009), and later that year played Luisa Contini in Rob Marshall's musical Nine (2009) and received a Golden Globe nomination for her performance. Time magazine ranked her as the fifth best performance by a female in 2009. The following year, she took on the main antagonist role, Mal, in Christopher Nolan's Inception (2010), and in 2011 she had memorable parts in Midnight in Paris (2011) and Contagion (2011) and reteamed with Christopher Nolan in The Dark Knight Rises (2012).
In 2011 and 2012 respectively, Cotillard appeared on the top of Le Figaro's list of the highest paid actors in France, it was the first time in nine years that a female topped the list. Cotillard was also the highest paid foreign actress in Hollywood.
In 2012, Cotillard received wide-spread critical acclaim for her role as the legless orca trainer Stéphanie in Rust and Bone (2012). The film was a box office hit in France and received a ten-minute standing ovation at the end of its screening at the 65th Cannes Film Festival. Cotillard won the Globe de Cristal (France's equivalent to the Golden Globe), the Étoile d'Or award and was nominated for the Golden Globes, SAG, BAFTA, Critics' Choice and César Awards for her performance in the film. Cate Blanchett wrote an op-ed for Variety praising Cotillard's performance in "Rust and Bone", the two actresses competed for the Academy Awards for Best Actress in 2008, Cate was nominated for her performance in Elizabeth: The Golden Age (2007) and Marion for her performance in La Vie En Rose (2007) and Cotillard won the Oscar.
She had her first leading role in an American movie in 2013, in James Gray's The Immigrant (2013), in which she played Ewa Cybulska, a Polish immigrant who wants to experience the American dream. Cotillard received wide-spread acclaim for her performance in the film at the 66th Cannes Film Festival, where the film premiered, and also won several critics awards. In 2014, Cotillard played Sandra in the Belgian film Two Days, One Night (2014) by the Dardenne brothers. Her performance was unanimously praised at the 67th Cannes Film Festival, earned several critics awards, Cotillard won her first European Award for Best Actress and also received her second Oscar nomination and her sixth César award nomination.
In 2015, she played Lady Macbeth opposite Michael Fassbender in Justin Kurzel's Macbeth (2015) and voiced two animated movies: The Little Prince (2015) in which she voiced The Rose, and April and the Extraordinary World (2015), in which she voiced the lead role, Avril. Her 2016 included Nicole Garcia's From the Land of the Moon (2016), Xavier Dolan's It's Only the End of the World (2016), Justin Kurzel's Assassin's Creed (2016), in which she worked again with her Macbeth co-star Michael Fassbender; and Robert Zemeckis's Allied (2016), with Brad Pitt.- Actress
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Samantha Morton has established herself as one of the finest actors of her generation, winning Oscar nominations for her turns in Woody Allen's Sweet and Lowdown (1999) and Jim Sheridan's In America (2002). She has the talent to become one of the major performers in the cinema of this young century.
Samantha Morton was born on May 13, 1977 in Nottingham, England to parents who divorced when she was three years old. Peter and Pamela Morton took other spouses and made Samantha part of a mixed family of 13; she has eight brothers and sisters. She turned to play-acting early in her life, while she was a school-girl.
At 13, she left regular school to train as an actress at the Central Junior Television Workshop, where she learned her craft for three years. It was at the end of her training then that she decided that a life as a professional actress was for her.
She honed her skills in television roles, working her way up from series television to TV-movies and prestigious mini-series, such as Emma (1996) and Jane Eyre (1997). Her first major film role, Under the Skin (1997), won her the Best Actress Award from the Boston Film Critics Society. Woody Allen cast her as Hattie, the "dumb" (unspeaking) lover of Sean Penn's caddish jazz guitarist in Sweet and Lowdown (1999), a beautiful performance in a role that could have flummoxed a less-talented performer. Penn was Oscar-nominated for his performance, but it was Morton's Hattie that was central to the success of the film, Allen's last unqualified success. She provided the moral and narrative center of the film. It was quite a remarkable performance for a 21-year old as she had to do all her acting with her face, having been shorn of her voice. The role of Hattie won Morton a Best Supporting Actress Academy Award nomination.
Ironically, Morton had never seen a Woody Allen movie before. (She grew up watching the TV and listening to the radio.) She agreed to do the film after reading the script (as she says, well-written roles for women are hard to find), and the movie made her a hot commodity in Hollywood after she won the Oscar nomination. (She lost out to Angelina Jolie). Morton was offered many roles, but was very choosy as she was not in acting as a game with a payoff of stardom and money.
She had consolidated her reputation by following up the Allen film with work in indie features that showed that she was not only talented, but quite courageous as a performer. She played a heroin addict in the underrated Jesus' Son (1999) and gave a brilliant performance in Morvern Callar (2002), the story of a Scottish supermarket clerk coping with her boyfriend's suicide.
Steven Spielberg cast her, opposite superstar Tom Cruise, as the clairvoyant in Minority Report (2002), in which she more than held her own opposite Cruise and the special effects. (She took the role as Cruise and Steven Spielberg are favorites of hers). As good as she was, Morton was better served by Irish director Jim Sheridan, Sheridan cast her as a character modeled after his wife in an autobiographical picture more in line with persona and that made better use of her talents. Her performance as the young Irish mother coping with life in New York City in In America (2002) won her numerous critics' awards and another Oscar nod, this time as Best Actress.
At this point, one feels that the odds of her winning the Oscar are even or better. Samantha Morton continues to deliver fine work in provocative films such as Michael Winterbottom's Code 46 (2003), though she is branching out towards the mainstream, taking a role in the remake of that perennial family favorite, Lassie (2005).- Actress
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Sarah Polley is an actress and director renowned in her native Canada for her political activism. Blessed with an extremely expressive face that enables directors to minimize dialog due to her uncanny ability to suggest a character's thoughts, Polley has become a favorite of critics for her sensitive portraits of wounded and conflicted young women in independent films.
She was born into a show business family: her stepfather, Michael Polley, appeared with her in the movie The Adventures of Baron Munchausen (1988) and on the television series Avonlea (1990); and her mother, Diane Polley, was an actress and casting director. It was her mother's connections that launched Sarah, at her own insistence, on an acting career at the age of four, following in the footsteps of her older half-brother Mark Polley. A second half-brother, John Buchan, is a casting director and producer.
Her career as a child actress shifted into high gear when she was cast as the Cockney waif Jody Turner in Lantern Hill (1989), for which she won a Gemini Award, the Canadian equivalent of the Emmy, in 1992. Produced by Kevin Sullivan, the film was based on the book by Lucy Maud Montgomery, author of Anne of Green Gables (1985). When Sullivan created a television series based on Montgomery's work, he cast Polley in the lead role of Sara Stanley in Avonlea (1990). The series propelled Polley into the first rank of Canadian TV stars and made her independently wealthy by the age of fourteen.
Her personal life was deeply affected by the death of her mother Diane from cancer shortly after her 11th birthday, a development that ironically paralleled the fictional life of her character Sara. Highly intelligent and politically progressive at a young age, Polley eventually rebelled against what she felt was the Americanization of the series after it was picked up by the Disney Channel for distribution in the US, eventually dropping out of the show. Though she does not blame her parents, she remains publicly disenchanted over the loss of her childhood and, in October 2003, said she is working on a script about a twelve-year-old girl on a TV show.
Polley, who picked up a second Gemini Award for her performance in the TV series Straight Up (1996), subsequently quit acting and high school to turn her attention to politics, positioning herself on the extreme left of Canada's left-of-center New Democratic Party. The publicity ensuing from her losing some teeth after being slugged by an Ontario policeman during a protest against the Conservative provincial government, plus the stinging cynicism from some other activists unimpressed by her celebrity, led her to lower her political profile temporarily and return to acting in Atom Egoyan's film The Sweet Hereafter (1997). It was her appearance as Nicole, the teenage girl injured in a school bus accident who serves as the conscience of the small town rent by the tragedy, that first brought her to the attention of critics in the US. In Canada, the role was heralded by critics as her successful breakthrough to adult roles. It was her second film with Egoyan, who wrote the part with her in mind when he adapted the novel by Russell Banks, who, ironically, is American. Predictions of an Academy Award nomination and future stardom were part of the critical consensus, and she received her first Best Actress Genie nomination from Canada's Academy of Canadian Cinema & Television and the Best Supporting Actress award from the Boston Society of Film Critics. It was the buzz created at the Sundance Festival, where her starring role in the film Guinevere (1999) was showcased, when the entertainment media crowned her the it-girl of 1999.
Intensely private and extremely ambivalent about the personal cost of celebrity and the Hollywood ethos Fame is the Name of the Game, Polley could be seen as rebelling against the expectations of mainstream cinema when she embarked on a career path that took her out of the spotlight thrown by the harsh lights of the Hollywood hype/publicity machine after shooting the film Go (1999). She dropped out of Cameron Crowe's Almost Famous (2000), the US$60 million mega-hyped vehicle that was supposed to make her a mainstream star in the US, choosing to return to Canada to make the CDN$1.5 million The Law of Enclosures (2000) for Genie Award-winner John Greyson, a director she admires greatly. The film grossed poorly in Canada and was not released in the US, but it did garner Polley her second Genie nomination for Best Actress. While her replacement in Almost Famous (2000) went on to win an Oscar nomination and a career above the title in glossy Hollywood films, she took a wide variety of parts, large and small, in independent films, including significant roles in the ensemble pieces The Claim (2000) and The Weight of Water (2000); bit parts in eXistenZ (1999) and Love Come Down (2000); and the lead in No Such Thing (2001). Her choice of projects showed her to be a questing spirit more focused on learning the art of her craft than on stardom.
She has said that her choice of film roles, eschewing mainstream Hollywood movies for chancier, non-commercial independent fare, was the result of an ethical decision on her part to make films with social importance. A less-observant viewer might think that the rebel Polley played in her political life that had previously manifested itself in her profession was now driving her to the verge of career suicide in terms of popularity, marketability, and choice of future roles. However, that interpretation does not recognize the extraordinary talent that will always keep her in demand by directors, if not casting agents, with an eye on the opening weekend box office. One must understand Polley's career progression in light of her attendance at the Canadian Film Centre's directors program and her production of short films, including Don't Think Twice (1999) and the highly praised I Shout Love (2001). Polley is a cinema artist. This woman wants to make, and will make films. Thus, we can understand her career choices as a desire to work with and understand the technique of some of the best directors in film, including David Cronenberg, Michael Winterbottom, and Hal Hartley.
Polley is as renowned for her intelligence as for her remarkable talent. The problem of the intelligent person in the acting field is that the actor, as artist, in not ultimately in control of their medium, and it is artistic control that is the hallmark of the great artist. The controlling intelligence on a movie set is the director, and her attendance at the Canadian Film Centre has given her a new perspective on acting. The actor, she says, should not try to give a complete performance for the camera (that is, control the representation on film) but must remember that the function of the actor is to give the director as much coverage as possible as a film, as well as a performance, is made in the editing room. According to Polley, this realization, that the film actor exists to serve the director, has given her new enthusiasm for acting. Thus, her career, and her career choices, can be seen as a quest for knowledge about the art of cinema, a journey whose fruition we will see in her future feature work as both actor and director.- Actress
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Isabella Rossellini, the Italian actress and model who has made her home in America since 1979 and holds dual Italian and American citizenship, was born cinema royalty when she made her debut on June 18, 1952 in Rome. She is the daughter of two legends, three-time Oscar-winning Swedish-born actress Ingrid Bergman and neo-realist master Italian director Roberto Rossellini. She was also the third wife of Oscar-winning director Martin Scorsese from 1979 to 1982 and the partner of legendary director David Lynch.
She made her movie debut in Vincente Minnelli's A Matter of Time (1976), which starred her mother. She then made a couple of Italian pictures and worked as an American correspondent for Italian television network RAI before appearing in Taylor Hackford's Cold War drama White Nights (1985) in 1985. She followed that up with her most memorable role, as the abused chanteuse in Lynch's masterpiece Blue Velvet (1986), she earned an Independent Spirit Award for Best Female Lead. She then went on to win a Saturn Award for Best Supporting Actress, for her performance as Lisle, the mysterious socialite, forever in her youth in Death Becomes Her (1992). In 1997, she was nominated for an Emmy Award as Outstanding Guest Actress in a Drama Series for a guest appearance on Chicago Hope (1994).- Actress
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Rita Moreno is one of the very few performers to win an Oscar, an Emmy, a Tony and a Grammy, thus becoming an EGOT. She was born Rosita Dolores Alverío in the hospital in Humacao, Puerto Rico on December 11, 1931 (but raised in nearby, smaller Juncos, which had no hospital), to seamstress Rosa María (Marcano) and farmer Francisco José "Paco" Alverío. Her mother moved to New York City in 1937, taking Rita with her while leaving her reportedly unfaithful husband and Rita's younger brother behind. Rita's professional career began before she reached adolescence.
From the age of nine, she performed as a professional dancer in New York night clubs. At age 11, she landed her first movie experience, dubbing Spanish-language versions of US films. Less than a month before her 14th birthday on November 22, 1945, she made her Broadway debut in the play "Skydrift" at the Belasco Theatre, costarring with Arthur Keegan and a young Eli Wallach. Although she would not appear again on Broadway for almost two decades, Rita Moreno, as she was billed in the play, had arrived professionally. In 1950, she was signed by MGM, but the studio dropped her option after just one year.
The cover of the March 1, 1954, edition of "Life Magazine" featured a three-quarters, over-the-left-shoulder profile of the young Puerto Rican actress/entertainer with the provocative title "Rita Moreno: An Actresses' Catalog of Sex and Innocence". It was sexpot time, a stereotype that would plague her throughout the decade. If not cast as a Hispanic pepper pot, she could rely on being cast as another "exotic", such as her appearance on Father Knows Best (1954) as an exchange student from India. Because of a dearth of decent material, Moreno had to play roles in movies that she considered degrading. Among the better pictures she earned featured roles in were the classic Singin' in the Rain (1952) and The King and I (1956).
Director Robert Wise, who was chosen to co-direct West Side Story (1961) (the film version of the smash Broadway musical, a retelling of William Shakespeare's "Romeo & Juliet" with the warring Venetian clans the Montagues and Capulets re-envisioned as Irish/Polish and Puerto Rican adolescent street gangs, the Jets and the Sharks), cast Moreno as "Anita", the Puerto Rican girlfriend of Sharks' leader Bernardo, whose sister Maria is the piece's Juliet.
However, despite her talent, roles commensurate with that talent were not forthcoming in the 1960s. The following decade would prove kinder, possibly because the beautiful Moreno had aged gracefully and could now be seen by filmmakers, TV producers and casting directors as something other than the spitfire/sexpot that Hispanic women were supposed to conform to. Ironically, it was in two vastly diverging roles--that of a $100 hooker in director Mike Nichols' brilliant realization of Jules Feiffer's acerbic look at male sexuality, Carnal Knowledge (1971), and Milly the Helper in the children's TV show The Electric Company (1971)--that signaled a career renaissance.
Moreno won a 1972 Grammy Award for her contribution to "The Electric Company"'s soundtrack album, following it up three years later with a Tony Award as Best Featured Actress in a Musical for "The Ritz" (a role she would reprise in the film version, The Ritz (1976)). She then won Emmy Awards for The Muppet Show (1976) and The Rockford Files (1974).
She has continued to work steadily on screen (both large and small) and on stage, solidifying her reputation as a national treasure, a status that was officially ratified with the award of the Presidential Medal of Freedom by President George W. Bush in June 2004.- Actor
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Legendary actor Christopher Plummer, perhaps Canada's greatest thespian, delivered outstanding performances as Sherlock Holmes in Murder by Decree (1979), the chilling villain in The Silent Partner (1978), the iconoclastic Mike Wallace in The Insider (1999), the empathetic psychiatrist in A Beautiful Mind (2001), the kindly and clever mystery writer in Knives Out (2019), and as Leo Tolstoy in The Last Station (2009). It was this last role that finally brought him recognition from the Academy of Motion Picture Arts & Sciences, when he was nominated as Best Actor in a Supporting Role, one of three Academy Award nominations he received in the 2010s, along with All the Money in the World (2017) (as J. Paul Getty) and Beginners (2010); he won for the latter role. He will also likely always be remembered as Captain Von Trapp in the atomic bomb-strength blockbuster The Sound of Music (1965), a film he publicly despised until softening his stance in his autobiography "In Spite of Me" (2008).
Christopher Plummer was born Arthur Christopher Orme Plummer on December 13, 1929 in Toronto, Ontario. He was the only child of Isabella Mary (Abbott), a secretary to the Dean of Sciences at McGill University, and John Orme Plummer, who sold securities and stocks. Christopher was a great-grandson of John Abbott, who was Canada's third Prime Minister (from 1891 to 1892), and a great-great-great-grandson of Presbyterian clergyman John Bethune. He had Scottish, English, Anglo-Irish, and Cornish ancestry. Plummer was raised in Senneville, Quebec, near Montreal, at his maternal grandparents' home.
Aside from the youngest member of the Barrymore siblings (which counted Oscar-winners Ethel Barrymore and Lionel Barrymore in their number), Plummer was the premier Shakespearean actor to come out of North America in the 20th century. He was particularly memorable as Hamlet, Iago and Lear, though his Macbeth opposite Glenda Jackson was -- and this was no surprise to him due to the famous curse attached to the "Scottish Play" -- a failure.
Like another great stage actor, Richard Burton, early in his career Plummer failed to connect with the screen in a way that would make him a star. Dynamic on stage, he didn't succeed as a younger leading man in films. Perhaps if he had been born earlier, and acted in the studio system of Hollywood's golden age, he could have been carefully groomed for stardom. As it was, he shared the English stage actors' disdain -- and he was equally at home in London as he was on the boards of Broadway or on-stage in his native Canada -- for the movies, which did not help him in that medium, as he has confessed. As he aged, Plummer excelled at character roles. He was always a good villain, this man who garnered kudos playing Lucifer on Broadway in Archibald Macleish's Pulitzer Prize-winning "J.B.".
Plummer won two Emmy Awards out of seven nominations stretching 46 years from 1959 and 2011, and one Genie Award in six nominations from 1980 to 2009. For his stage work, Plummer has racked up two Tony Awards on six nominations, the first in 1974 as Best Actor (Musical) for the title role in "Cyrano" and the second in 1997, as Best Actor (Play), in "Barrymore". Surprisingly, he did not win (though he was nominated) for his masterful 2004 performance of "King Lear", which he originated at the Stratford Festival in Ontario and brought down to Broadway for a sold-out run. His other Tony nominations show the wide range of his talent, from a 1959 nod for the Elia Kazan-directed production of Macleish's "J.B." to recognition in 1994 for Harold Pinter's "No Man's Land", with a 1982 Best Actor (Play) nomination for his "Iago" in William Shakespeare's "Othello".
Until the 2009 Academy Awards were announced, it could be said about Plummer that he was the finest actor of the post-World War II period to fail to get an Academy Award. In that, he was following in the footsteps of the late great John Barrymore, whom Plummer so memorably portrayed on Broadway in a one-man show that brought him his second Tony Award. In 2010, Plummer finally got an Oscar nod for his portrayal of another legend, Lev Tolstoy in The Last Station (2009). Two years later, the first paragraph of his obituary was written when the 82-year-old Plummer became the oldest person in Academy history to win an Oscar. He won for playing a senior citizen who comes out as gay after the death of his wife in the movie Beginners (2010). As he clutched his statuette, the debonaire thespian addressed it thus: "You're only two years older than me darling, where have you been all of my life?"
Plummer then told the audience that at birth, "I was already rehearsing my Academy acceptance speech, but it was so long ago mercifully for you I've forgotten it." The Academy Award was a long time in coming and richly deserved.
Plummer gave many other fine portrayals on film, particularly as he grew older and settled down into a comfortable marriage with his third wife Elaine. He continued to be an in-demand character actor in prestigious motion pictures. If he were English rather than Canadian, he would have been knighted. (In 1968, he was appointed Companion of the Order of Canada, the country's highest civilian honor and one which required the approval of the sovereign, Queen Elizabeth II.) If he lived in the company town of Los Angeles rather than in Connecticut, he likely would have several more Oscar nominations before winning his first for "The Last Station".
As it is, as attested to in his witty and well-written autobiography, Plummer was amply rewarded in life. In 1970, Plummer - then a self-confessed 43-year-old "bottle baby" - married his third wife Elaine Taylor, a dancer, who helped wean him off his dependency on alcohol. They lived happily with their dogs on a 30-acre estate in Weston, Connecticut. He thanked her from the stage during the 2012 Oscar telecast, quipping that she "deserves the Nobel Peace Prize for coming to my rescue every day of my life." Although he spent the majority of his time in the United States, he remained a Canadian citizen. He died in his Weston, Connecticut home on February 5, 2021 at age 91.
His daughter, with actress Tammy Grimes, is actress Amanda Plummer.- Actor
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Ed O'Neill is an American actor best known for playing Al Bundy on Married... with Children (1987), the most iconic working class character on television since Archie Bunker. Upon his debut on the world stage in Youngstown, Ohio on April 12, 1946, he was christened Edward Philip O'Neill, Jr. Both his father, Ed, Sr., a steelworker and truck driver, and his social worker mother, the former Ruth Ann Quinlan, were Irish-Americans.
A gifted athlete, the 6'1" O'Neill attended Ohio University on a football scholarship, but transferred after his sophomore year to Youngstown State University, where he played as a defensive lineman. In 1969, he was drafted by the Pittsburgh Steelers, but was cut in training camp. (Al Bundy was a former high-school football star constantly reminiscing about his glory days on the high school gridiron. Terry Bradshaw, the Hall of Fame Pittsburgh Steelers quarterback, twice appeared on "Married with Children".)
After being cut by the Steelers, O'Neill went back to YSU to join the new theater department. After graduating, he became a social studies teacher at his alma mater, Ursuline High School, before fully committing to acting. He was a member of the company at the American Repertory Theater in Cambridge, Massachusetts, one of the top regional theaters in America.
After numerous supporting parts in movies and television, he was cast as the New York City detective Popeye Doyle in the 1986 television movie that was a pilot for a proposed television series. "Popeye Doyle" was based on the classic police drama The French Connection (1971), with O'Neill playing the role originated by Gene Hackman). The television movie and O'Neill's performance got good reviews, but it was not picked up as a series.
A year later, O'Neill was cast as Al Bundy in the sitcom "Married with Children", which debuted on the then-new Fox Network in April 1987. It ran 10 years, until June 1997, and made O'Neill a star.
During the production of "Married with Children" and after its cancellation, O'Neill appeared in movies, guested on television shows, and made television commercials. The second iconic fictional policeman role that O'Neill took over was Sgt. Joe Friday in his 2003 remake of Jack Webb's classic crime series Dragnet (2003), which appeared on ABC. The network canceled the show during its second season. Since 2009, O'Neill has played Jay Pritchett on the ABC's sitcom Modern Family (2009), for which he was nominated for an Emmy Award in 2011.
Since 1986, O'Neill has been married to actress Catherine Rusoff. They have two daughters, Claire and Sophia.- Actress
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Molly Parker, the extremely talented and versatile Canadian actress is best known in the United States for playing the Western widow "Alma Garret" on the cable-TV series Deadwood (2004). Raised on a commune, she described as "a hippie farm" in Pitt Meadows, B.C., Parker got the acting bug when she was 16 years old, after 13 years of ballet training. Parker's uncle was an actor, and his agent took her on as a client, enabling her to launch her career in small roles on Canadian television. She enrolled at Vancouver's Gastown Actors' Studio after she graduated from high school, and continued to act on TV in series and TV-movies while learning her craft at acting school.
Parker began attracting attention when she appeared as the daughter of a lesbian military officer in the TV-movie Serving in Silence: The Margarethe Cammermeyer Story (1995). She earned a Gemini nomination (the Canadian TV industry's equivalent of the Emmy) for her performance in the TV-movie Paris or Somewhere (1994). However, it was her debut in theatrical films that gave her her big breakthrough, playing a necrophiliac in Lynne Stopkewich's 1996 film Kissed (1996). It was "Kissed" that set Molly's career into overdrive.
A friend got her an audition for the low-budget independent feature film, and she hit if off with the director, who not only cast her, but became her friend. As the character "Sandra Larson", a poetic soul obsessed with death who engages in sexual congress with a corpse, Parker created a sympathetic character in a difficult role. The film garnered her rave revues and she won a Genie Award, the Canadian cinema's Academy Award, for her performance. She parlayed the accolades into a sustained career on film and in TV.
On TV, Parker was part of the cast of CBC-TV's six-part sitcom Twitch City (1998), playing the girlfriend of Don McKellar, which enabled her to showcase her comedic skills. Other memorable TV roles was the female rabbi on Home Box Office's series Six Feet Under (2001) and, of course, the regular role on HBO's Deadwood (2004). She has appeared in many ambitious films, including Jeremy Podeswa's The Five Senses (1999), István Szabó's Sunshine (1999) and Michael Winterbottom's Wonderland (1999). She also re-teamed with director Lynne Stopkewich for Suspicious River (2000).
Parker made waves with another provocative film with sex as its subject, director Wayne Wang's The Center of the World (2001). In the movie, Parker played a San Francisco lap dancer who becomes a paid escort to a Silicon Valley nerd. For her performance, she was nominated for an Independent Spirit Award. In 2002, she was nominated twice as best supporting actress at the Genies for her roles in the British/Canadian co-production War Bride (2001) and Bruce Sweeney's Last Wedding (2001), winning for her appearance in the latter film.
Parker's reputation as an outstanding actress is based on her assaying of strong, yet flawed, definitely complex women in character-leads and supporting parts in challenging films. Not only does she convey intelligence, but there is an unconscious elegance to her, a true inner beauty that radiates on-screen. She will be gracing the screen, both large and small, with her unique presence for many years to come.- Actress
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Gretchen Mol was born November 8, 1972, in Deep River, Connecticut, the daughter of a school principal, James Mol, and his artist wife, Janet. Deep River is a small community located on the Chester Bowles Highway (Rt. 9), nine miles northwest of Old Saybrook (home of the legendary Katharine Hepburn), within commuting distance of New York City. The young Gretchen was bit by the acting bug and participated in high school theatrics, then moved to the Big Apple as a teenager to study acting and musical theater at the American Musical and Dramatic Academy and at the William Esper Studio.
Although only 5'6" tall--too short for a traditional modeling career--her unique beauty brought her modeling jobs as she pursued her dream of becoming a professional actress. She began appearing in magazines in 1994, meanwhile working at such time-honored Manhattan jobs as restaurant hat-check girl. It was while working that gig she was discovered by a talent agent. The agent landed her her first acting job, a TV commercial for Coca-Cola. She continued to hone her acting skills in summer stock, appearing in such productions as "Bus Stop," "No Exit," and "Godspell."
The 23-year-old Gretchen made her film debut in Spike Lee's Girl 6 (1996), a small role that came to her, as luck would have it, after she had gone for an audition for the soap opera Guiding Light (1952). Her career began to take off, and she appeared in small parts, mostly "girlfriend" roles, in such films as Rounders (1998) starring 'Matt Damon' (qav) and in Woody Allen's Celebrity (1998), opposite Kenneth Branagh and Leonardo DiCaprio.
Gretchen was touted as the "Next Big Thing" after appearing on the cover of the September 1998 issue of "Vanity Fair." Her most memorable role up to that time was as a mobster's moll in the minor cult classic Donnie Brasco (1997), which was mostly remembered for cinematic turns by Al Pacino, Johnny Depp and Anne Heche. Nonetheless, her beauty and presence led "Vanity Fair" to hype the beautiful blonde, heralding the arrival of a major new star. She seemed poised to move up to featured roles. but the announcement turned out to be premature. Brunette Angelina Jolie proved to be Hollywood's Next "It" girl.
During the seven years that followed the "Vanity Fair" cover story, Mol continued to appear in films and on the stage, including the part of Jennie in the London and New York productions of Neil LaBute's "The Shape of Things" in 2001 (she also appeared in the film version, The Shape of Things (2003)). The good reviews she got proved that she was not just another pretty face. In 2004 she displayed her singing and dancing chops by playing Roxie Hart in the Broadway production of "Chicago."
She worked steadily, appearing in another small role in Woody Allen's Sweet and Lowdown (1999), and eventually won the lead in David E. Kelley TV series Girls Club (2002). The series bombed, however, and was canceled after only two episodes. Nevertheless, the intervening period allowed her to develop as an actress. In 2004 the blonde beauty finally had the role that proved to be her acting breakthrough: brunette 1950s "stag queen" Bettie Page in The Notorious Bettie Page (2005). Many brunettes have gone blonde, but Mol--the blonde who went brunette--rocked the screen with her presence. Her embodiment of the legendary Page garnered excellent reviews and propelled the flick into art house hit status.
Mol married film director Tod Williams on June 1, 2004, and they became parents a little over three years later, when a son, Ptolemy John Williams, was born on October 10, 2007.- Music Artist
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Tim McGraw has sold more than 90 million records worldwide and dominated the charts with 46 worldwide No. 1 singles and 19 worldwide No. 1 albums. He's won 3 Grammy Awards, 21 Academy of Country Music Awards, 14 Country Music Association Awards. His iconic career achievements include being named BDS Radio's Most Played Artist of the Decade for all music genres and having the Most Played Song of the Decade for all music genres. He is the most played country artist at radio since his debut in 1992, with two singles spending 10 weeks or more at No. 1. Known for his high energy concerts, he is one of the top touring artists of all time including the record-setting "Soul2Soul" tours with his wife, Faith Hill. An acclaimed actor, McGraw starred in and narrated the hit movie "The Shack" and co-wrote and performed the closing credit song for the Oscar winning documentary "Free Solo." His other movie credits include blockbuster hits "Friday Night Lights" and "The Blind Side. McGraw starred beside Sam Elliott and his wife Faith Hill in the Yellowstone prequel and three-time Emmy nominated 1883. McGraw has co-authored two New York Times Best Selling books, Songs of America: Patriotism, Protest and the Music that Made a Nation with Jon Meacham and fitness book Grit & Grace: Train the Mind, Train the Body, Own Your Life. As part of the host committee, McGraw welcomed the largest outdoor crowd in Nashville history to his performance at the 2019 NFL Draft. He also appeared in the NFL Tailgate Party for Super Bowl LII and the College Football Playoffs 2020. His newest single, "Standing Room Only," just launched with the most first-week streams of any track in McGraw's career.- Producer
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Terrence Malick was born in Ottawa, Illinois. His family subsequently lived in Oklahoma and he went to school in Austin, Texas. He did his undergraduate work at Harvard, graduating summa cum laude with a degree in philosophy in 1965.
A member of the Phi Beta Kappa honor society, he attended Magdalen College, Oxford on a Rhodes scholarship, but did not finish his thesis on Martin Heidegger, allegedly because of a disagreement with his advisor. Returning to the States, he taught philosophy at M.I.T. and published a translation of Heidegger's "Vom Wesen des Grundes" as "The Essence of Reasons". Malick did not get his PhD in philosophy: Instead, he attended the American Film Institute Conservatory in its inaugural year (1969), taking a Masters of Fine Arts degree in film-making. His masters thesis was the seventeen-minute comedy short Lanton Mills (1969), which starred Warren Oates and Harry Dean Stanton. Malick himself acted in the short.
At A.F.I., Malick made a lasting association with Jack Fisk, who would establish himself as an Oscar-nominated art director and production designer and serve as art director on all of Malick's films. He also picked up Mike Medavoy as an agent, who got Malick work doctoring scripts and marketed his original ones. He wrote the screenplay for the 1972 Alan Arkin trucker movie Deadhead Miles (1972), which was many miles from Harvard let along Oxford, and for the 1972 Paul Newman-Lee Marvin contemporary oater Pocket Money (1972), another departure from fields of academia. "Deadhead Miles" was dumped by Paramount as unreleasable and "Pocket Money", despite being headlined by two Top Ten Box Office stars, flopped. It was an inauspicious start to a legendary career, but it influenced Malick to begin directing his own scripts.
His first two films were the now critically acclaimed Badlands (1973) and Days of Heaven (1978). He then took a self-imposed retirement of nearly two decades from film-making before lensing his 1998 adaptation of James Jones's The Thin Red Line (1998), which was nominated for 7 Academy Awards, including nods for Malick for directing and adapted screenplay.
Adopting a Kubrickian pace of movie-making, he directed The New World (2005) and the autobiographical The Tree of Life (2011) with gaps of only seven and six years, respectively, between release. However, he reportedly was working on ideas for "The Tree of Life" since the late 70s, including exposing footage that found its way into his finished film.
In an unprecedented burst of productivity, he shot his next four films, To the Wonder (2012), Knight of Cups (2015), an as-yet unnamed drama and the cosmic documentary Voyage of Time: Life's Journey (2016) back-to-back during and immediately after completing the long editing process of "Tree of Life". Like Stanley Kubrick, Malick usually takes well over a year to edit his films. All three are highly anticipated by cineastes the world over.- Actress
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The legendary actress set a record when at age 82, she appeared on Dancing with the Stars (2005). Cloris Leachman was born on April 30, 1926 in Des Moines, Iowa to Berkeley Claiborne "Buck" Leachman and the former Cloris Wallace. Her father's family owned a lumber company, Leachman Lumber Co. She was of Czech (from her maternal grandmother) and English descent. After graduating from high school, Leachman attended Illinois State University and Northwestern University, where she majored in drama. After winning the title of Miss Chicago 1946 (as part of the Miss America pageant), she acted with the Des Moines Playhouse before moving to New York.
Leachman made her credited debut in 1948 in an episode of The Ford Theatre Hour (1948) and appeared in many television anthologies and series before becoming a regular on The Bob & Ray Show (1951) in 1952. Her movie debut was memorable, playing the doomed blonde femme fatale Christina Bailey in Robert Aldrich's classic noir Kiss Me Deadly (1955). Other than a role in Rod Serling's movie The Rack (1956) in support of Paul Newman, Leachman remained a television actress throughout the 1950s and the 1960s, appearing in only two movies during the latter decade, The Chapman Report (1962) and Butch Cassidy and the Sundance Kid (1969). Though she would win an Oscar for Peter Bogdanovich's adaptation of Larry McMurtry's The Last Picture Show (1971) and appear in three Mel Brooks movies, it was in television that her career remained and her fame was assured in the 1970s and into the second decade of the new millennium.
Leachman was nominated five times for an Emmy Award playing Phyllis Lindstrom, Mary Tyler Moore's landlady and self-described best friend on The Mary Tyler Moore Show (1970) and on the spin-off series Phyllis (1975). She won twice as Best Supporting Actress in a comedy for her "Mary Tyler Moore" gig and won a Golden Globe Award as a leading performer in comedy for "Phyllis", but her first Emmy Award came in the category Outstanding Single Performance by an Actress in a Leading Role in 1973 for the television movie A Brand New Life (1973). She also won two Emmy Awards as a supporting player for Malcolm in the Middle (2000).
She was married to director-producer George Englund from 1953 to 1979. They had five children together. Cloris Leachman died of natural causes on January 27, 2021 in Encinitas, California.- Actor
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Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).- Actor
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Stacy Keach has played to grand success a constellation of the classic and contemporary stage's greatest roles, and he is considered a pre-eminent American interpreter of Shakespeare. His SRO run as "King Lear" at the Shakespeare Theatre Company in Washington, D.C. received the best reviews any national leader has earned in that town for decades. Peter Marks of the Washington Post called Mr. Keach's Lear "magnificent". He recently accepted his third prestigious Helen Hayes Award for Leading Actor in 2010 for his stellar performance. His next stage appearance premiering January 13, 2011 at the Lincoln Center in New York is "Other Desert Cities" by Jon Robin Baitz and teaming him with Stockard Channing, Linda Lavin and Elizabeth Marvel.
His latest television series, Lights Out (2011), on the FX network is a major new mid-season dramatic show, taking him back to the world of boxing which has been a rich setting for him before, notably in Huston's Fat City (1972) which ignited Keach's career as a film star.
Versatility embodies the essence of Stacy Keach's career in film and television as well as on stage. The range of his roles is remarkable. His recent performance in Oliver Stone's "W" prompted fellow actor Alec Baldwin to blog an impromptu review matching Huston's amazement at Keach's power. Perhaps best known around the world for his portrayal of the hard-boiled detective, Mike Hammer, Stacy Keach is also well-known among younger generations for his portrayal of the irascible, hilarious Dad, Ken Titus, in the Fox sitcom, Titus, and more recently as Warden Henry Pope in the hit series, Prison Break. Following his triumphant recent title role performance in King Lear for the prestigious Goodman Theatre in Chicago, Keach joined the starring cast of John Sayles' recent film, Honeydripper. In the most recent of his non-stop activities, he has completed filming Deathmatch for the Spike Channel, and The Boxer for Zeitsprung Productions in Berlin, Germany.
German audiences will also see him as one of the co-stars in the multi-million dollar production of Hindenburg: The Last Flight (2011), scheduled to air in January, 2011 with worldwide release thereafter. Mr. Keach co-stars in the new FX series entitled Lights Out (2011) about a boxing family, where he plays the Dad-trainer of two boxing sons played by Holt McCallany and Pablo Schreiber. The series is also scheduled to air in January, 2011. Keach returns to the New York stage at the start of the 2011 in Jon Robin Baitz's new play, "Other Desert Cities," at the Lincoln Center.
Capping his heralded accomplishment on the live stage of putting his own stamp on some of the theatre world's most revered and challenging roles over the past year when he headed the national touring company cast of "Frost/Nixon," portraying Richard M. Nixon, bringing still another riveting characterization to the great legit stages of Los Angeles, Chicago, Boston, the nation's capitol and other major cities. He won his second Best Actor Helen Hayes Award for his outstanding performance. His second triumphant portrayal of King Lear in the past three years, this time for the Shakespeare Theatre Company in the nation's capital earned reviews heard around the world, with resulting offers for him to repeat that giant accomplishment in New York, Los Angeles and even Beijing.
An accomplished pianist and composer, Mr. Keach composed the music for the film, Imbued (2009), directed by Rob Nilssen, a celebrated film festival favorite, in which Keach also starred. He has also completed composing the music for the Mike Hammer audio radio series, "Encore For Murder", written by Max Collins, directed by Carl Amari, and produced by Blackstone Audio.
Mr. Keach began his film career in the late 1960's with _The Heart Is A Lonely Hunter_, followed by _The New Centurions_ with George C. Scott; Doc Holiday with Faye Dunaway in the film 'Doc' (1971); an over-the-hill boxer,Billy Tully in Fat City (1972); directed by John Huston, and The Long Riders (1980), which he co-produced and co-wrote with his brother, James Keach, directed by Walter Hill. On the lighter side, his characterization of Sgt. Stedenko in Cheech and Chong's Up in Smoke (1978), and the sequel, Nice Dreams (1981), gave a whole new generation a taste of Mr. Keach's comedic flair, which he also demonstrated in Robert Altman's Brewster McCloud (1970), playing the oldest living lecherous Wright Brother; and The Life and Times of Judge Roy Bean (1972) where he played a crazed albino out to kill Paul Newman.
Historical roles have always attracted him. In movies he has played roles ranging from Martin Luther to Frank James. On television he has been Napoleon, Wilbur Wright, J. Robert Oppenheimer, Barabbas, Sam Houston, and Ernest Hemingway, for which he won a Golden Globe as Best Actor in a mini-series and was nominated for an Emmy in the same category. He played an eccentric painter, Mistral, in the Judith Krantz classic, Mistral's Daughter (1984), a northern spy in the civil war special, The Blue and the Gray (1982), more recently as the pirate Benjamin Hornigold in the Hallmark epic Blackbeard (2006).
As a director, his production of Arthur Miller's Incident at Vichy (1973) for PBS was, according to Mr. Miller in his autobiography, Timebends, "the most expressive production of that play he had seen." He won a Cine Golden Eagle Award for his work on the dramatic documentary, The Repeater, in which he starred and also wrote and directed.
But it is perhaps the live theatre where Mr. Keach shines brightest. He began his professional career with the New York Shakespeare Festival in 1964, doubling as Marcellus and the Player King in a production of Hamlet directed by Joseph Papp and which featured Julie Harris as Ophelia. He rose to prominence in 1967 in the Off-Broadway political satire, MacBird, where the title role was a cross between Lyndon Johnson and Macbeth and for which he received the first of his three Obie awards. He played the title roles in Henry 5, Hamlet (which he played 3 times), Richard 3, Macbeth, and most recently as King Lear in Robert Falls' modern adaptation at Chicago's Goodman Theatre, which Charles Isherwood of the NY Times called "terrific" and "a blistering modern-dress production that brings alive the morally disordered universe of the play with a ferocity unmatched by any other production I've seen." Mr. Keach's stage portrayals of Peer Gynt, Falstaff and Cyrano de Bergerac, and Hamlet caused the New York Times to dub him "the finest American classical actor since John Barrymore."
Mr. Keach's Broadway credits include his Broadway debut, Indians, where he played Buffalo Bill and was nominated for a Tony award as Best Actor. He starred in Ira Levin's Deathtrap, the Pulitzer Prize winning Kentucky Cycle (for which he won his first Helen Hayes award as Best Actor), the Rupert Holmes one-man thriller, Solitary Confinement, where Mr. Keach played no less than six roles, all unbeknownst to the audience until the end of the play. In the musical theatre, he starred in the national tour of Barnum, played the King in Camelot for Pittsburgh's Civic Light Opera, and the King in The King and I, which he also toured in Japan. He starred in the Jon Robin Baitz play, Ten Unknowns, at the Mark Taper Forum in 2003. The LA Times said: "And then there's Keach. What a performance! How many actors can manage such thunder and such sweet pain. He's been away from the LA stage too long. Welcome back."
In 2004, he starred as Scrooge in Boston's Trinity Rep musical production of A Christmas Carol; earlier in 2004, he starred as Phil Ochsner in Arthur Miller's last play Finishing The Picture, directed by Robert Falls at the Goodman Theatre.
As a narrator his voice has been heard in countless documentaries; as the host for the Twilight Zone radio series; numerous books on tape, including the Short Stories of Ernest Hemingway. In the year 2000, he recorded a CD of all of Shakespeare's Sonnets. He recently recorded the voice of St. Paul for a new audio version of The New Testament:, The Word of Promise and Job for the Old Testament edition. He is the narrator on CNBC's new hit show, American Greed (2007), and recently narrated the award-winning documentary, The Pixar Story (2007). He has also reprised his role as Mike Hammer in the Blackstone audio series, the most recent being "Encore for Murder". A charter-member of LA Theatre Works, Mr. Keach recently played the title role in Bertolt Brecht's Galileo, recorded both for radio and CD. He was seen on CBS's hit show Two and a Half Men (2003) as the gay Dad of Charlie's fiance.
Stacy Keach also believes strongly in 'giving back' and has been the Honorary Chair for the Cleft Palate Foundation for the past twenty-five years. He is also the national spokesman for the World Craniofacial organization. He has served on the Artist's Committee for the Kennedy Center Honors for two decades, is on the board of directors for Genesis at the Crossroads, a Chicago-based organization dedicated to bringing peoples of combatant cultures together through the shared artistic expressions of the visual and culinary arts, music, dance, and theater. He also serves on the artistic board for Washington DC's Shakespeare Theatre National Council, where he was also honored in 2000 with their prestigious Millennium Award for his contribution to classical theatre. Some years ago Hollywood honored him with a Celebrity Outreach Award for his work with charitable organizations.
He has been the recipient of Lifetime Achievement Awards from Pacific Pioneer's Broadcasters, the San Diego Film Festival, the Pacific Palisades Film Festival, and The 2007 Oldenburg Film Festival in Germany. Later this year, he will be awarded the 2010 Lifetime Award from the St. Louis Film Festival. In 2008, he received the Mary Pickford Award for versatility in acting.
Mr. Keach was a Fulbright scholar to the London Academy of Music and Dramatic Art, attended the University of California at Berkeley and the Yale Drama School. He has always been a star of the American stage, especially in Shakespearen roles such as Hamlet, Henry 5, Coriolanus, Falstaff, Macbeth, Richard 3, and most recently, King Lear.
Of his many accomplishments, Mr. Keach claims that his greatest accomplishment is his family. He has been married to his beautiful wife Malgosia for twenty-five years, and they have two wonderful children, Shannon Keach (1988), and daughter Karolina Keach (1990).- Actress
- Soundtrack
Patricia Neal, the Oscar and Tony Award-winning actress, was born Patsy Louise Neal in Packard, Kentucky, where her father managed a coal mine and her mother was the daughter of the town doctor. She grew up in Knoxville, Tennessee, where she attended high school. She was first bit by the acting bug at the age of 10, after attending an evening of monologues at a Methodist church. She subsequently wrote a letter to Santa Claus, telling him, "What I want for Christmas is to study dramatics". She won the Tennessee State Award for dramatic reading while she was in high school.
She apprenticed at the Barter Theater in Abingdon, Virginia, when she was 16-years-old, between her junior and senior years in high school. After studying drama for two years at Northwestern University, she headed to New York City and landed the job as an understudy in The Voice of the Turtle (1947). It was the producer of the play that had her change her name from Patsy Louise to Patricia. After replacing Vivian Vance in the touring company of "Turtle", she won a role in a play that closed in Boston and then appeared in summer stock. She won the role of the teenage "Regina" in Lillian Hellman's play, Another Part of the Forest (1948), for which she won a Tony Award in 1947. Subsequently, she signed a seven-year contract with Warner Bros.
In the first part of her film career, her most impressive roles were in The Fountainhead (1949), opposite Gary Cooper, with whom she had three-year-long love affair, and in director Robert Wise's sci-fi classic, The Day the Earth Stood Still (1951), which she made at 20th Century-Fox. Warners hadn't been thrilled with her and let her go before her contract was up, so she signed with Fox. With her film career stagnating, she returned to Broadway and achieved the success that eluded her in films, appearing in the revival of Hellman's play, The Children's Hour (1961), in 1952. She met and married writer, Roald Dahl, in 1953, and they would have five children in 30 years of marriage.
In 1957, she had one of her finest roles in Elia Kazan's parable about the threat of mass-media demagoguery and home-grown fascism in A Face in the Crowd (1957). Before she had appeared in the movie, Neal had taken over the role of "Maggie" in Tennessee Williams' Cat on a Hot Tin Roof (1958), the Broadway smash that had been directed by Kazan. Returning to the stage, she appeared in the London production of Williams' Suddenly, Last Summer (1959) and co-starred with Anne Bancroft in the Broadway production of The Miracle Worker (1962).
After appearing in Breakfast at Tiffany's (1961), she had what was arguably her finest role, as Alma the housekeeper, in Hud (1963) opposite Paul Newman. The film was a hit and Neal won the Best Actress Oscar. In 1965, she suffered a series of strokes that nearly killed her. She was filming John Ford's film, 7 Women (1965), at the time, and had to be replaced by Anne Bancroft (who would later take a role she turned down, that of "Mrs. Robinson" in The Graduate (1967)). Neal was pregnant at the time.
She underwent a seven-hour operation on her brain and survived, later delivering her fifth child. She underwent rehabilitation supervised by her husband. She had turned down The Graduate (1967) as she had not recovered fully from her stroke. When she returned to the screen, in 1968 in The Subject Was Roses (1968), she suffered from memory problems. According to her director, Ulu Grosbard, "The memory element was the uncertain one. But when we started to shoot, she hit her top level. She really rises to the challenge. She has great range, even more now than before".
She received an Oscar nomination for her work. Subsequently, new acting roles equal to her talent were sparse. She did receive three Emmy nominations, the first for originating the role of "Olivia Walton" in the 1971 TV movie The Homecoming: A Christmas Story (1971), that gave birth to the TV show The Waltons (1972).
Patricia Neal died on August 9, 2010 in Edgarton, Massachusetts from lung cancer. She was 84 years old.- English actress Francesca Annis, who has enjoyed a career spanning seven decades in movies, television and the theater, was born in London six days after V-E Day, on May 14, 1945. Her father, Lester, was English, but her mother, Mariquita (aka Mara Purcell), was of Brazilian-French heritage. From the time she was a year old to the age of seven, the family lived in Brazil. The young Francesca spoke Portuguese, that country's language, as a child. Educated at a convent school, she dreamed of becoming a nun but trained as a ballet dancer before studying drama at the Corona Theatre School. She began acting in bit parts in the 1950s, working her way up to better roles. In addition to appearing on the big and little screens, she was a member of the Royal Shakespeare Company.
Her most famous roles are as Lady Macbeth in Roman Polanski's version of Macbeth (1971), in which she had a notorious nude sleepwalking scene, and as Kyle MacLachlan (Paul Atreides)' mother Lady Jessica in David Lynch's adaptation of Frank Herbert's Dune (1984). A highly respected performer, in 1979, she won the British Academy Television Award for Best Actress, playing Lily Langtry in the miniseries Lillie (1978). She appeared with James Warwick as husband and wife sleuths Tommy and Tuppence Beresford in the television series Partners in Crime (1983). She also appeared as Jacqueline Kennedy in the television movie Onassis: The Richest Man in the World (1988). - Actress
- Soundtrack
Actress Jacqueline Obradors is currently enjoying the success of her latest feature, 'Palm Springs,' in which she appears with Andy Samberg and Oscar-winner JK Simmons. Just like the record-breaking summer temperatures of the titular city, the film broke records after a bidding war ensued dating back to Sundance where Hulu won out. No stranger to coveted roles on a streaming service, Obradors has also starred opposite Titus Welliver in the last three seasons of Amazon's acclaimed 'Bosch' drama series.
Bad-ass detective roles seem to be one of her fortes, as Obradors previously starred for Steven Bochco on four seasons of his acclaimed, 'NYPD Blue' which garnered her a prestigious ALMA Award nomination, and paved the way for her role opposite Freddie Prinze, Jr. in his 'Freddie' comedy series. She's also enjoyed memorable recurring arcs beginning with 'Jesse' opposite Christina Applegate, 'Battery Park' with Frank Grillo, 'NCIS,' 'Franklin & Bash 'alongside Kumal Nanjiani, and finally 'Lopez' opposite the show's namesake, George Lopez.
Obradors has also made her mark on the big screen since her debut in the action film, 'Red Sun Rising'. She since transitioned into Ivan Reitman's romantic comedy 'Six Days Seven Nights' opposite Harrison Ford which garnered her a Blockbuster Entertainment Award nomination. She more recently reunited with Ford in 'Crossing Over' which co-starred Ray Liotta. Other notable film roles include 'Deuce Bigelow' with Adam Sandler and Amy Poehler, 'A Man Apart' in which she starred opposite Vin Diesel, 'Unstoppable' with Wesley Snipes, and the drama 'Windows on the World' with Oscar nominee Edward James Olmos. She earned her second ALMA Award nomination for her turn as Hector Elizondo's daughter in the acclaimed, 'Tortilla Soup.'
When not paving her own way, Obradors helps guide her sons' careers as they too quickly accumulate a worthy list of credits. The family currently resides in Los Angeles where she was also born and raised.- Actor
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Rip Torn was born Elmore Rual Torn Jr. on February 6, 1931 in Temple, Texas, the son of Thelma Mary (Spacek) and Elmore Rudolph Torn, who was an agriculturalist and economist, credited with popularizing the custom of eating black-eyed peas on New Year's Day. "Rip" is a family name, taken by generations of Torn men and bestowed on Elmore by his father, who was also called "Rip." He was of German, Austrian, Bohemian, and Moravian descent. His mother was an elder sister of actress Sissy Spacek's father, Edwin Spacek.
Torn attended Texas A&M and the University of Texas, where he joined Sigma Chi Fraternity. He majored in animal husbandry. Extremely naïve when he was young, Torn hitchhiked to Hollywood with the idea of becoming a movie star; he wanted to make enough money in order to buy a ranch. Success did not come overnight, as he had hoped, and Torn had to work many odd jobs while occasionally being cast in television roles. He made his feature film debut in Elia Kazan's Baby Doll (1956) in a small part.
Serious about learning his craft, he moved to New York City where he studied under Lee Strasberg at the Actors Studio. Torn also studied dance with Martha Graham. His serious acting career began on the small screen, where he made a name for himself in the Golden Age of Television; between 1957 and 1960, he appeared regularly on such prestigious live shows as Omnibus (1952) and Playhouse 90 (1956).
Torn made his Broadway debut in Kazan's staging of Tennessee Williams' "Sweet Bird of Youth" on March 10, 1959, in support of Paul Newman, Sidney Blackmer and Geraldine Page, who would become his second wife. The play was a hit, closing on January 30, 1960 after 375 performances. He won a 1960 Tony Award nomination as Best Featured Actor in a Play and a Theater World award for his role as "Tom, Jr.", a role he recreated in the 1962 film. (Torn also starred as "Boss Finley" in a later television adaptation of the play).
Torn earned a reputation as an actor's actor on stage, both Broadway and off-Broadway, as well as on screen. He continued to work in the New York theater despite his demanding TV and movie schedule as both an actor and director. He won two Obie awards for his work off-Broadway, for Distinguished Performance in Norman Mailer's "The Deer Park" (for the 1966-67 season), and for Distinguished Direction for "The Beard" (1967-68). He had his own stage company, and directed his daughter Angelica Page (by Geraldine Page) in John Paul Alexander's "Strangers in the Land of Canaan" at the Actors Studio. Torn made his feature film directorial debut with The Telephone (1988).
He was constantly in demand as a character actor, in supporting, second lead and occasional lead roles. Arguably his best performance on film came in Payday (1973), and he was nominated for a best supporting actor Oscar for Cross Creek (1983). Most of Torn's roles were in drama, though he was adept at comedy. His role in Albert Brooks' comedy Defending Your Life (1991) led to his being cast in The Larry Sanders Show (1992), on which he played talk show producer "Artie." Torn won six consecutive Emmy nominations for the role, winning once for Best Supporting Actor in a comedy series in 1996.
Torn was married to actress Ann Wedgeworth from 1956-61, whom he divorced to marry Geraldine Page. They remained married until her death in 1987. He was married to Amy Wright until his death. Torn helped his first cousin, Oscar-winner Sissy Spacek, to make her way as an actress, seeing to it that she was accepted by the Lee Strasberg's Actors Studio and then the Lee Strasberg Institute.
Rip Torn died in on July 9, 2019 in Lakeville, Connecticut, aged 88.- Actress
- Soundtrack
Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as "Emily Hartley," wife of psychologist "Bob Hartley" (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years.
Suzanne Pleshette was born on January 31, 1937, in New York, New York, to Gene Pleshette, a TV network executive who had managed the Paramount Theaters in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just "found" herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse.
She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as "The Fourth Girl," she eventually took over the ingénue role during the play's run.
Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962).
Once Pleshette started acting, her career never lagged until she was afflicted with cancer.
Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, "Mitch Brenner" (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, "Melanie Daniels" (Tippi Hedren).
Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons.
Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from "The Bob Newhart Show" in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show.
After "The Bob Newhart Show" ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules (2002).
Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in "The Golden Fleecing," a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007.
Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday.
Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in "The Bob Newhart Show" after watching her appearances with Johnny Carson on The Tonight Show Starring Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife.
She accepted the part, and TV history was made.- Actor
- Producer
- Additional Crew
Oscar-winning character actor Martin Landau was born on June 20, 1928, in Brooklyn, New York. At age 17, he was hired by the New York Daily News to work in the promotions department before he became a staff cartoonist and illustrator. In his five years on the paper, he served as the illustrator for Billy Rose's "Pitching Horseshoes" column. He also worked for cartoonist Gus Edson on "The Gumps" comic strip. Landau's major ambition was to act and, in 1951, he made his stage debut in "Detective Story" at the Peaks Island Playhouse in Peaks Island, Maine. He made his off-Broadway debut that year in "First Love".
Landau was one of 2,000 applicants who auditioned for Lee Strasberg's Actors Studio in 1955; only he and Steve McQueen were accepted. Landau was a friend of James Dean and McQueen, in a conversation with Landau, mentioned that he knew Dean and had met Landau. When Landau asked where they had met, McQueen informed him he had seen Landau riding on the back of Dean's motorcycle into the New York City garage where he worked as a mechanic.
Landau acted during the mid-1950s in the television anthologies Playhouse 90 (1956), Studio One (1948), The Philco Television Playhouse (1948), Kraft Theatre (1947), Goodyear Playhouse (1951), and Omnibus (1952). He began making a name for himself after replacing star Franchot Tone in the 1956 off-Broadway revival of Anton Chekhov's "Uncle Vanya," a famous production that helped put off-Broadway on the New York theatrical map.
In 1957, he made a well-received Broadway debut in the play "Middle of the Night." As part of the touring company with star Edward G. Robinson, he made it to the West Coast. He made his movie debut in Pork Chop Hill (1959), but scored on film as the heavy in Alfred Hitchcock's classic thriller North by Northwest (1959), in which he was shot on top of Mount Rushmore while sadistically stepping on the fingers of Cary Grant, who was holding on for dear life to the cliff face. He also appeared in the blockbuster Cleopatra (1963), the most expensive film ever made up to that time, which nearly scuttled 20th Century-Fox and engendered one of the great public scandals, the Elizabeth Taylor-Richard Burton love affair that overshadowed the film itself. Despite the difficulties with the film, Landau's memorable portrayal in the key role of Rufio was highly favored by the audience and instantly catapulted his popularity.
In 1963, Landau played memorable roles in two episodes of the science-fiction anthology series The Outer Limits (1963), The Bellero Shield (1964), and The Man Who Was Never Born (1963). He was Gene Roddenberry's first choice to play Mr. Spock on Star Trek (1966), but the role went to Leonard Nimoy, who later replaced Landau on Mission: Impossible (1966), the show that really made Landau famous. Landau originally was not meant to be a regular on the series, which co-starred his wife Barbara Bain, whom he had married in 1957. His character, Rollin Hand, was supposed to make occasional, recurring appearances, on Mission: Impossible (1966), but when the producers had problems with star Steven Hill, Landau was used to take up the slack. Landau's characterization was so well-received and so popular with the audience, he was made a regular. Landau received Emmy nominations as Outstanding Lead Actor in a Drama Series for each of the three seasons he appeared. In 1968, he won the Golden Globe award as Best Male TV Star.
Eventually, he quit the series in 1969 after a salary dispute when the new star, Peter Graves, was given a contract that paid him more than Landau, whose own contract stated he would have parity with any other actor on the show who made more than he did. The producers refused to budge and he and Bain, who had become the first actress in the history of television to be awarded three consecutive Emmy Awards (1967-69) while on the show, left the series, ostensibly to pursue careers in the movies. The move actually held back their careers, and Mission: Impossible (1966) went on for another four years with other actors.
Landau appeared in support of Sidney Poitier in They Call Me Mister Tibbs! (1970), the less-successful sequel to the Oscar-winning In the Heat of the Night (1967), but it did not generate more work of a similar caliber. He starred in the television movie Welcome Home, Johnny Bristol (1972) on CBS, playing a prisoner of war returning to the United States from Vietnam. The following year, he shot a pilot for NBC for a proposed show, "Savage." Though it was directed by emerging wunderkind Steven Spielberg, NBC did not pick up the show. Needing work, Landau and Bain moved to England to play the leading roles in the syndicated science-fiction series Space: 1999 (1975).
Landau's and Bain's careers stalled after Space: 1999 (1975) went out of production, and they were reduced to taking parts in the television movie The Harlem Globetrotters on Gilligan's Island (1981). It was the nadir of both their careers, and Bain's acting days and their marriage were soon over. Landau, one of the most talented character actors in Hollywood, and one not without recognition, had bottomed out career-wise. In 1983, he was stuck in low-budget sci-fi and horror movies such as The Being (1981), a role far beneath his talent.
His career renaissance got off to a slow start with a recurring role in the NBC sitcom Buffalo Bill (1983), starring Dabney Coleman. On Broadway, he took over the title role in the revival of "Dracula" and went on the road with the national touring company. Finally, his career renaissance began to gather momentum when Francis Ford Coppola cast him in a critical supporting role in his Tucker: The Man and His Dream (1988), for which Landau was nominated for an Academy Award as Best Supporting Actor. He won his second Golden Globe for the role. The next year, he received his second consecutive Best Supporting Actor Oscar nomination for his superb turn as the adulterous husband in Woody Allen's Crimes and Misdemeanors (1989). He followed this up by playing famed Nazi hunter Simon Wiesenthal in the TNT movie Max and Helen (1990). However, the summit of his post-Mission: Impossible (1966) career was about to be scaled. He portrayed Bela Lugosi in Tim Burton's biopic Ed Wood (1994) and won glowing reviews. For his performance, he won the Best Supporting Actor Oscar. Martin Landau, the superb character actor, finally had been recognized with his profession's ultimate award. His performance, which also won him his third Golden Globe, garnered numerous awards in addition to the Oscar and Golden Globe, including top honors from the New York Film Critics Circle and the National Society of Film Critics. Landau continued to play a wide variety of roles in motion pictures and on television, turning in a superb performance in a supporting role in The Majestic (2001). He received his fourth Emmy nomination in 2004 as Outstanding Guest Actor in a Drama Series for Without a Trace (2002).
Martin Landau was honored with his own star on the Hollywood Walk of Fame, located at 6801 Hollywood Boulevard.
Martin Landau died in Los Angeles, California on July 15, 2017.- Script and Continuity Department
- Writer
- Producer
Anthony Minghella was the son of immigrants from Italy, who own an ice-cream factory on the Isle of Wight, where Anthony was born on January 6, 1954. He and his two siblings, Edana Minghella and Dominic Minghella, grew up there, a popular British holiday spot. After graduating from the University of Hull, Minghella took a position as a university lecturer, but quit academia to focus on the theater and songwriting. He oversaw the music in many of his movies.
Minghella was employed as a scriptwriter on the British TV series Maybury (1981) and Inspector Morse (1987) and, as a script editor on the British TV series Grange Hill (1978), before succeeding as a dramatist in the West End, London's equivalent of Broadway. In 1984, the London Theatre Critics named him Most Promising Playwright of the Year and, two years later, his drama "Made in Bangkok" won the the London Theatre Critics' award for best play.
An Anthony Minghella film assured movie-goers would enjoy a film blessed with a literate script, superlative performances and first-rate production values. His great craftsmanship was apparent from the beginning, with the bittersweet comedy Truly Madly Deeply (1990), in which the ghost of Alan Rickman comes back to his lady love, Juliet Stevenson, with unintended consequences. The theme of a ghostly love also was present in The English Patient (1996) his greatest success.
It is for that film he will be best remembered. Minghella claimed that with The English Patient (1996), which won nine Oscars, including Best Picture and Best Director, that he had reached the heights of his directing career.
In addition to his theater and film awards, in 2001, Anthony Minghella was appointed a Commander of the British Empire, a step just below knighthood, in the Queen's Birthday Honors List.
Anthony Minghella died of a hemorrhage on the morning of March 18, 2008 at Charing Cross Hospital in London, England. The 54-year-old Minghella had undergone an operation to remove a growth on his neck the previous week. He was survived by his wife, Carolyn Choa, and their two children, Max Minghella, who is an actor, and Hannah Minghella, who worked as a production assistant.- Actress
- Soundtrack
It took 30 years since it was first predicted, but Conchata Ferrell finally achieved television stardom, albeit of the supporting variety, as the housekeeper "Berta" in the situation-comedy Two and a Half Men (2003). Ferrell originally had been tipped for stardom with her turn as the prostitute "April" in the Norman Lear-produced series Hot l Baltimore (1975), in which she recreated her role in Lanford Wilson's off-Broadway hit. However, what was a hit play in New York turned out to be a flop on national TV and, though she worked steadily ever since, it took her role in support of stars Charlie Sheen and Jon Cryer in "Men" to get her the attention her talent richly deserved. For her role as "Berta", Conchata was nominated for an Emmy Award as Best Supporting Actress in a Comedy Series in both 2005 and 2007. She had three Emmy nominations in total, having previously gotten a nod in 1992 for Best Supporting Actress in a Drama Series for L.A. Law (1986).
Conchata Galen Ferrell was born on March 28, 1943 in Charleston, West Virginia, to Mescal Loraine (George) and Luther Martin Ferrell. She attended West Virginia University and Marshall University. Conchata graduated from Marshall with a degree in social studies in education. Eventually, she sought a life in the theater, and achieved success off-Broadway as a member of the Circle in the Square theatrical company in Wilson's "Hot L Baltimore". For her next off-Broadway appearance, as "Gertrude Blum" in Edward J. Moore's "The Sea Horse", Ferrell won Drama Desk, Theatre World and Obie Awards as best actress in 1974. She worked steadily in television and films ever since.
Ferrell was married to Arnie Anderson, and had one daughter.- Actor
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- Director
William Devane, the movie and television actor, was born in Albany, New York, the son of Joseph Devane, who served as Franklin D. Roosevelt's chauffeur when he was Governor of New York. After graduating from New York City's American Academy of Dramatic Arts, he appeared on-stage. He finally made his Broadway debut in "The Watering Place" with Shirley Knight, a flop that lasted but one performance. (He was more successful with "The Chinese and Dr. Fish" during the 1970 season, which lasted three weeks. His sole Broadway directorial effort, the Vietnam War drama "G. R. Point," lasted for 32 performances in 1979 and brought Michael Jeter a 1979 Theatre World Award.)
He made his movie debut as a revolutionary in the independently produced In the Country (1967) and began appearing on series TV. He had a small but memorable part as the lawyer committed to free-enterprise in Robert Altman's masterpiece McCabe & Mrs. Miller (1971) in 1971, but what made his reputation was his turn as President John F. Kennedy in the The Missiles of October (1974), a 1973 telefilm about the Cuban Missile Crisis. He made a bid for stardom with major roles in Alfred Hitchcock's Family Plot (1976) and John Schlesinger's Marathon Man (1976) (both 1976) and The Bad News Bears in Breaking Training (1977) (1977), as well as roles in Schlesinger's Yanks (1979) and the TV adaptation of James Jones' classic barracks drama From Here to Eternity (1979). However, any chances for a successful movie career essentially were doomed by the monumental failure of Schlesinger's comedy Honky Tonk Freeway (1981), one of the great flops its time, bringing in only $2 million at the box office against a $24 million budget. Devane moved over to nighttime series TV, playing the cad Greg Sumner on the night-time soap opera Knots Landing (1979) for 10 years.
Because of his resemblance to President Kennedy and his ability to master a Kennedyesque Boston accent, Devane continues to be in demand as politicians, including presidents, in such shows as The West Wing (1999), 24 (2001), and Stargate SG-1 (1997).- Actress
- Soundtrack
Rita Tushingham was born in Liverpool on March 14, 1942, and did her professional apprenticeship with the Liverpool Playhouse. In 1961, she made her film debut as a teenager in Tony Richardson's adaption of Shelagh Delaney's kitchen sink drama, A Taste of Honey (1961). For her work in that film, she won a BAFTA and the best actress award at the Cannes Film Festival. In 1963, she followed those up with a Golden Globe Award as most promising newcomer.
In the first half of the Sixties, Tushingham became a symbol of the kitchen sink school of theater, which told stories about working class folk, people who had been ignored previously in class conscious England. It was a decade that saw the rise of a generation of actors born and raised outside Metropolitan London who refused to let go of their accents or adopt posh manners. She became one of the faces of the English New Wave. In 1964, Tushingham starred in Girl with Green Eyes (1964), an adaptation of an Edna O'Brien novel about a young Irish woman's affair with an older man, co-starring Peter Finch and Lynn Redgrave. She next starred as a working class woman married to a biker in Sidney J. Furie's cult classic The Leather Boys (1964), a film released at a time where Marlon Brando's biker opus The Wild One (1953) was still banned in Britain. She originated the role of Nancy in Ann Jellicoe's "The Knack...and How to Get It" at the Royal Court Theatre in 1962. The Royal Court was ground zero for the revolution in the British theater that started there in 1956 with John Osborne's Look Back in Anger (1959).
She reached her high-water mark in 1965 when she reprised her stage role in the film version of The Knack... and How to Get It (1965) and played Omar Sharif (Yuri) and Julie Christie (Lara)'s love child in Doctor Zhivago (1965). While The Knack... and How to Get It (1965) was a box office hit, Doctor Zhivago (1965) was an international hit, one of cinema's all-time blockbusters. Her fame crested at the time her fellow Liverpudlians, The Beatles were establishing themselves as the biggest thing in post-WWII pop music.
But as the second half of the 60s kicked in, Tushingham's stardom began to wane as that of her "Zhivago" co-star (and on-screen mum) Christie began to skyrocket, making her the face of Swinging London. Tushingham has continued to act for five more decades since the Sixties came to a close, the very definition of a successful career.- Actor
- Producer
- Script and Continuity Department
Harvard-educated stage and screen actor Richard Jordan was born into a socially prominent family on July 19, 1937 in New York City, the grandson of Learned Hand, the greatest American jurist never to have served on the U.S. Supreme Court. Newbold Morris, his stepfather, was a member of the New York City Council during Mayor Fiorello LaGuardia's administration. Young Richard was educated in private Manhattan schools and then at the exclusive Hotchkiss prep school in Lakeville, Connecticut. While at Hotchkiss, he was outstanding as the eponymous lead of the school play "Mr. Roberts", which won him a place in the Sharon, Connecticut summer stock company. Jordan went to England as an exchange student at the Sherbourne School, a college (private school) that was over 1,000 years old. After graduating from Sherbourne, Jordan entered Harvard College and took his degree in three years.
At Harvard, Jordan was a member of the Dramatic Club, both as an actor and as a director. It was while at Harvard that he decided to become a professional actor and began performing with off-campus stage companies. After graduating from Harvard, Jordan launched what was to be a prolific stage career in New York, making his Broadway debut in December 1961 in the play "Take Her, She's Mine" under the direction of the venerable George Abbott in Biltmore Theatre. The play, which starred Art Carney, Elizabeth Ashley in a Tony Award-winning turn, and Heywood Hale Broun, was a hit, playing 404 performances.
Jordan next appeared in a one-night flop, in "Bicycle Ride to Nevada", which opened and closed on September 24, 1963. He was more lucky with his next play, "Generation", a comedy starring Henry Fonda that played for 300 performances in the 1965-66 season. He last appeared on Broadway in a success d'estime, John Osborne's "A Patriot for Me", directed by Peter Glenville and starring Maximilian Schell and Tommy Lee Jones, who was making his Broadway debut. By that time, Jordan had established himself as a leading player Off-Broadway and Off-Off-Broadway, which accounted for the majority of his over 100 New York stage appearances.
Jordan, as actor and director, was a major force in the development of New York's "Off-Off-Broadway" theater that flourished in the 1960s. He was one of the founders of the Gotham Arts Theater, which put on plays in an old funeral parlor on West 43rd Street. Fittingly, the company's first play was about necrophilia. Jordan engaged young New York artists to design the sets, the results of which were not always auspicious. Jordan said of this development, "With our weirdo plays against their far-out sets...it was total insanity!" He made a significant breakthrough, career-wise, with his appearance in the anti-war play "The Trial Of The Catonsville Nine" in both New York and California.
Jordan spent eight years with Joseph Papp's New York Shakespeare Festival. He made his debut with Papp's Shakespeare Festival in 1963, playing "Romeo" opposite the "Juliet" of Kathleen Widdoes, the fellow Papp stock company member who would become his wife, in Papp's Shakespeare in the Park series. The couple married in 1964, and their eight-year marriage produced a daughter, Nina Jordan, born in 1964, who would later co-star with her father in the movie Old Boyfriends (1979).
Although he appeared on television during the 1960s, the tall, handsome and talented Jordan did not make his motion picture debut until 1971, when he appeared in a supporting role in Michael Winner's horse opera Lawman (1971), which featured a first-rate cast, including Burt Lancaster, Robert Ryan, Lee J. Cobb and Robert Duvall. However, it was his role as the baby-faced, amoral Treasury agent in The Friends of Eddie Coyle (1973) that made him a known commodity on-screen, while it was the monumental mini-series Captains and the Kings (1976) that made his reputation. His performance as the Irish immigrant "Joseph Armagh" brought him an Emmy nomination and a Golden Globe award, and it also brought him his long-time companion, co-star Blair Brown, whom he lived with for many years and by whom he had a son.
An actor rather than a star, Jordan played many unsympathetic roles, including that of Nazi Albert Speer in the TV movie The Bunker (1981). He continued to appear on the stage, Off-Broadway and in stock companies touring the major cities of the U.S., while appearing in films and on TV. Jordan was the manager of the L.A. Actors Theater in Los Angeles during the 1970s, where he produced, directed and wrote his own plays. For the 1983-84 Off-Broadway season, he won an Obie Award for his performance in Czech playwright Václav Havel's "A Private View". He won the Los Angeles Drama Critics Circle Award for directing Havel's "Largo Desolato" at the Taper, Too in 1987.
In 1992, Jordan had begun filming The Fugitive (1993) when his fatal illness forced him to leave the production. Thus, Jordan's final role was that of "General Lewis Armistead" in the film Gettysburg (1993), which was a labor of love for him. He was close friends with Michael Shaara, the author of the novel "The Killer Angels", which the movie was based upon, and contributed to the screenplay. Jordan's last appearance as an actor was the death of his on-screen character, "General Armistead".
Richard Jordan died in Los Angeles, California of a brain tumor on August 30, 1993. He was 56 years old.- Actress
- Soundtrack
Dame Joan Ann Plowright, the Baroness Olivier, is one of the most distinguished actors of her generation. She may be best remembered as the third wife and widow of Laurence Olivier, generally considered the greatest anglophone actor of the 20th Century, but she had a distinguished career of her own on stage and screen spanning six decades.
Born in Brigg, Lincolnshire on October 28, 1929, she received her training at the Bristol Old Vic Theatre School and made her professional stage debut at Croydon in 1948. Her London debut came in 1954, and two years later, she joined George Devine's English Stage Company at the Royal Court Theatre, which would change her life just as the drama at the Royal Court revolutionized the English theater.
The Royal Court's 1956 production of John Osborne's _Look Back In Anger' was a watershed in English theatrical history, ushering in the 'Angry Young Man" era in British cultural life. In 1957, Plowright first co-starred with her future husband Olivier in the Royal Court's production of Osborne's The Entertainer (1960) when she took over the role of Archie Rice's daughter Jean Rice when the play transferred to a commercial venue in the West End. She recreated the role in Tony Richardson's 1960 film of the play.
To escape the notoriety from Olivier's divorce from Vivien Leigh, Plowright and Olivier went to New York, where they appeared on Broadway, he in Becket (1964) and she in A Taste of Honey (1961). For her performance as Josephine, which Rita Tushingham played in the movie version, she won a 1961 Tony Award as Best Actress in a Play. (She had first appeared on Broadway in a twin bill of Eugène Ionesco's "The Chairs" and "The Lesson" in January 1958, a month before she appeared with Olivier in "The Entertainer".) When his divorce from Leigh came through, they were married in March 1961 in New York with Richard Burton as Larry's best man.
From 1963 onward, she was a member of the National Theatre, which was headed by Olivier. Plowright created a distinguished stage career and was acclaimed when she began appearing more frequently in movies and television starting in the the 1980s. She was made a Dame Commander of the British Empire, the female equivalent of a knighthood, in the 2004 Queen's New Year Honours.
Plowright divorced her first husband, the actor Roger Gage, to marry Olivier in 1961 and they had three children, Richard Kerr Olivier, Tamsin Olivier and Julie Kate Olivier.- Actor
- Producer
- Soundtrack
John Mahoney was an award-winning American actor. He was born in Blackpool, Lancashire, England, the seventh of eight children of Margaret and Reg, a baker. His family was evacuated to the sea-side resort to avoid the Nazi bombing of their native Manchester. The Mancunian Mahoneys eventually returned to Manchester during the war. Visiting the States to see his older sister, a "war bride" who had married an American, the young Mahoney decided to emigrate and was sponsored by his sister. John eventually won his citizenship by serving in the U.S. Army.
Long interested in acting, Mahoney didn't make the transition to his craft until he was almost forty years old. Mahoney took acting classes at the St. Nicholas Theater and finally built up the courage to quit his day job and pursue acting full time. John Malkovich, one of the founders of the Second City's distinguished Steppenwolf Theatre, encouraged Mahoney to join Steppenwolf, and in 1986, Mahoney won a Tony Award for Best Featured Actor in a Play for his performance in John Guare's The House of Blue Leaves (1987).
Mahoney made his feature film debut in 1980, but he was best known for playing the role of the father of the eponymous character Frasier (1993) from 1993 until 2004. He later concentrated on stage work back in Chicago, and appeared on Broadway in 2007 in a revival of Prelude to a Kiss (1992).
John died on February 4, 2018, in Chicago, Illinois.- Actor
- Producer
- Director
Anthony Quinn was born Antonio Rodolfo Quinn Oaxaca (some sources indicate Manuel Antonio Rodolfo Quinn Oaxaca) on April 21, 1915, in Chihuahua, Mexico, to Manuela (Oaxaca) and Francisco Quinn, who became an assistant cameraman at a Los Angeles (CA) film studio. His paternal grandfather was Irish, and the rest of his family was Mexican.
After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where he grew up in the Boyle Heights and Echo Park neighborhoods. He played in the band of evangelist Aimee Semple McPherson as a youth and as a deputy preacher. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski in "A Streetcar Named Desire" to rave reviews in Chicago), then later studied architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. Made his credited film debut in Parole! (1936). After a brief apprenticeship on stage, Quinn hit Hollywood in 1936 and picked up a variety of small roles in several films at Paramount, including an Indian warrior in The Plainsman (1936), which was directed by the man who later became his father-in-law, Cecil B. DeMille.
As a contract player at Paramount, Quinn's roles were mainly ethnic types, such as an Arab chieftain in the Bing Crosby-Bob Hope comedy, Road to Morocco (1942). As a Mexican national (he did not become an American citizen until 1947), he was exempt from the draft. With many other actors in military service during WWII, he was able to move up into better supporting roles. He married DeMille's daughter Katherine DeMille, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law, with whom he did not get along (whom Quinn reportedly felt had never accepted him due to his Mexican roots; the two men were also on opposite ends of the political spectrum) but they eventually were able to develop a civil relationship. Quinn returned to the stage to hone his craft. His portrayal of Stanley Kowalski in "A Streetcar Named Desire" in Chicago and on Broadway (where he replaced the legendary Marlon Brando, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.
Brando and Elia Kazan, who directed "Streetcar" on Broadway and on film (A Streetcar Named Desire (1951)), were crucial to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Mexican revolutionary Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican-American to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Vincente Minnelli's biographical film of Vincent van Gogh, Lust for Life (1956), opposite Kirk Douglas. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs ("runaway production" had battered the industry since its beginnings in the New York/New Jersey area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by Giulietta Masina in her husband Federico Fellini's masterpiece The Road (1954). He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming Barabbas (1961).
Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957). He played a Greek resistance fighter against the Nazi occupation in the monster hit The Guns of Navarone (1961) and received kudos for his portrayal of a once-great boxer on his way down in Rod Serling's Requiem for a Heavyweight (1962). He went back to playing ethnic roles, such as an Arab warlord in David Lean's masterpiece Lawrence of Arabia (1962), and he played the eponymous lead in the "sword-and-sandal" blockbuster Barabbas (1961). Two years later, he reached the zenith of his career, playing Zorba the Greek in the film of the same name (a.k.a. Zorba the Greek (1964)), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as The Shoes of the Fisherman (1968) and The Secret of Santa Vittoria (1969). However, his appearance in the title role in the film adaptation of John Fowles' novel, The Magus (1968), did nothing to save the film, which was one of that decade's notorious turkeys.
In the 1960s, Quinn told Life magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as The Greek Tycoon (1978). He starred as the Hispanic mayor of a southwestern city on the short-lived television series The Man and the City (1971), but his career lost its momentum during the 1970s. Aside from playing a thinly disguised Aristotle Onassis in the cinematic roman-a-clef The Greek Tycoon (1978), his other major roles of the decade were as Hamza in the controversial The Message (1976) (a.k.a. "Mohammad, Messenger of God"); as the Italian patriarch in The Inheritance (1976); yet another Arab in Caravans (1978); and as a Mexican patriarch in The Children of Sanchez (1978). In 1983, he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical "Zorba" for 362 performances (opposite Lila Kedrova, who had also appeared in the film, and won an Oscar for Best Supporting Actress for her performance). His career slowed during the 1990s but he continued to work steadily in films and television, including an appearance with frequent film co-star Maureen O'Hara in Only the Lonely (1991).
Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. Beginning in 1982, he held numerous major exhibitions in cities such as Vienna, Paris, and Seoul. He died in a hospital in Boston at age 86 from pneumonia and respiratory failure linked to his battle with throat cancer.- Actor
- Writer
- Producer
Omar Sharif, the Egyptian actor best known for playing Sherif Ali in Lawrence of Arabia (1962) and the title role in Doctor Zhivago (1965), was born Michel Demitri Shalhoub on April 10, 1932 in Alexandria, Egypt to Joseph Shalhoub, a lumber merchant, and his wife, Claire (Saada). Of Lebanese and Syrian extraction, the young Michel was raised Catholic. He was educated at Victoria College in Alexandria and took a degree in mathematics and physics from Cairo University with a major. Afterward graduating from university, he entered the family lumber business.
Before making his English-language film debut with "Lawrence of Arabia", for which he earned a Best Supporting Actor Academy Award nomination and international fame, Sharif became a star in Egyptian cinema. His first movie was the Egyptian film The Blazing Sun (1954) ("The Blazing Sun") in 1953, opposite the renowned Egyptian actress Faten Hamamah whom he married in 1955. He converted to Islam to marry Hamama and took the name Omar al-Sharif. The couple had one child (Tarek Sharif, who was born in 1957 and portrayed the young Zhivago in the eponymous picture) and divorced in 1974. Sharif never remarried.
Beginning in the 1960s, Sharif earned a reputation as one of the world's best known contract bridge players. In the 1970s and 1980s, he co-wrote a syndicated newspaper bridge column for the Chicago Tribune. Sharif also wrote several books on bridge and has licensed his name to a bridge computer game, "Omar Sharif Bridge", which has been marketed since 1992. Sharif told the press in 2006 that he no longer played bridge, explaining, "I decided I didn't want to be a slave to any passion any more except for my work. I had too many passions, bridge, horses, gambling. I want to live a different kind of life, be with my family more because I didn't give them enough time.".
As an actor, Sharif had made a comeback in 2003 playing the title role of an elderly Muslim shopkeeper in the French film Monsieur Ibrahim (2003). For his performance, he won the Best Actor Award at the Venice Film Festival and the Best Actor César, France's equivalent of the Oscar, from the Académie des Arts et Techniques du Cinéma.
Diagnosed with Alzheimer's disease in 2012, Sharif died of a heart attack on July 10, 2015, in Cairo, Egypt.- Actor
- Director
John Saxon appeared in nearly 200 roles in the movies and on television in a more-than half-century-long career that has stretched over seven decades since he made his big screen debut in 1954 in uncredited small roles in It Should Happen to You (1954) and George Cukor's A Star Is Born (1954). Born Carmine Orrico on August 5, 1936 in Brooklyn, New York, the son of Italian-American parents, Antonio Orrico and Anna (née Protettore), he studied acting with Stella Adler after graduating from New Utrecht High School.
He was discovered by talent agent Henry Willson, the man most famous for creating and representing Rock Hudson (as well as a stable of "beefcake" male stars and starlets), who signed him up after he saw Saxon's picture on the cover of a magazine. Willson brought the 16-year-old to Southern California, changed his name to John Saxon, and launched his career. Saxon made his television debut on Richard Boone's series Medic (1954) in 1955 and got his first substantial (and credited) role in Running Wild (1955), playing a juvenile delinquent. In the Esther Williams vehicle The Unguarded Moment (1956) (one of her rare dramatic roles), the film's marketing campaign spotlighted him, trumpeting the movie as "Co-starring the exciting new personality John Saxon.".
By 1958, he seemed to have established himself as a supporting player in A-List pictures, being featured in Blake Edwards's comedy This Happy Feeling (1958) headlined by Debbie Reynolds and Vincente Minnelli's The Reluctant Debutante (1958) with Rex Harrison and Sandra Dee. In the next five years, he worked steadily, including supporting roles in John Huston's The Unforgiven (1960), the James Stewart comedy Mr. Hobbs Takes a Vacation (1962) and Otto Preminger's The Cardinal (1963) while having first billing in the B-movies Cry Tough (1959) and War Hunt (1962). Fluent in Italian, he made his first pictures in Italy in the period, Agostino (1962) and Mario Bava's The Evil Eye (1963). Despite his good work with major directors, he failed to succeed as a star.
By 1965, he was appearing in the likes of Blood Beast from Outer Space (1965), albeit, top-billed. A more emblematic picture was Sidney J. Furie's The Appaloosa (1966), in which he appeared in Mexican bandito drag as the man who steals the horse of Marlon Brando, another Stella Adler student. Saxon would reprise the role, of sorts, in John Sturges Joe Kidd (1972) in support of superstar Clint Eastwood. In those less politically correct times, many an Italian-American with a dark complexion would be relied on to play Mexicans, Native Americans and other "exotic" types like Mongols. Saxon played everything from an Indian chief on Bonanza (1959) to Marco Polo on The Time Tunnel (1966).
From 1969 to 1972 season, he was a star of the television series The Bold Ones: The New Doctors (1969), playing the brilliant surgeon Theodore Stuart. When the series ended, he took one of his most famous roles when Bruce Lee demurred over casting Rod Taylor as he was too tall. A black belt in karate, Saxon appeared as Roper in Enter the Dragon (1973). He continued to play a wide variety of roles on television and in motion pictures, with key roles in 1974's classic slasher Black Christmas (1974), 1984's groundbreaking A Nightmare on Elm Street (1984), and the 1990s self-referential horror films New Nightmare (1994) and From Dusk Till Dawn (1996).
John Saxon died of pneumonia on July 25, 2020, in Murfreesboro, Tennessee. He was 83.- Actor
- Producer
- Soundtrack
George Segal was born on February 13, 1934 in New York City, New York, to Fannie Blanche (Bodkin) and George Segal Sr., a malt and hop agent. All of his grandparents were Russian Jewish immigrants. After a stint in the military, he made his bones as a stage actor before being cast in his first meaty film role in The Young Doctors (1961). His turns in Ship of Fools (1965) and the eponymous King Rat (1965) heralded the arrival of a major talent. He followed this up with his Oscar-nominated performance in Who's Afraid of Virginia Woolf? (1966), in which he more than held his own against Richard Burton and Elizabeth Taylor. Who's Afraid of Virginia Woolf? (1966) was a cultural phenomenon, the film that wrecked the MPDDA censorship code that had been in place since 1934, and a huge box office success to boot.
By the early 1970s, appearances in such films as The Owl and the Pussycat (1970), Blume in Love (1973), Born to Win (1971) and The Hot Rock (1972) had made him a major star with an enviable reputation, just under the heights of the superstar status enjoyed by the likes of Paul Newman. He followed up A Touch of Class (1973) (a hit film for which his co-star Glenda Jackson won an Oscar) with his brilliant performance as the out-of-control gambler in Robert Altman's California Split (1974).
At one time in the early 1970s, it seemed like George Segal would have a career like that enjoyed by his contemporary Jack Nicholson, that of an actor's actor equally adept at comedy and drama. Segal never made the leap to superstar status, and surprisingly, has never won a major acting award, the latter phenomenon being particularly surprising when viewed from the period 1973-74, when he reached the height of his career. It was at this point that Segal's career went awry, when he priced himself as a superstar with a seven-figure salary, but failed to come through at the box office. For example, The Black Bird (1975) was a failure, although his subsequent starring turn opposite Jane Fonda in Fun with Dick and Jane (1977) was a big hit that revitalized her career.
The thriller Rollercoaster (1977) became a modest hit even during a summer which saw it competing with Star Wars: Episode IV - A New Hope (1977), and he gave a adroit comic performance in Who Is Killing the Great Chefs of Europe? (1978) with Jacqueline Bisset and Robert Morley, which proved another box office success. For all practical purposes, even after the failures of The Black Bird (1975), and The Duchess and the Dirtwater Fox (1976), it seemed like Segal, with a few deft career choices, could reorient his career and deliver on the promise of his early period.
At the end of the decade, he dropped out of a movie that would have burnished his tarnished lustre as a star: Blake Edwards' 10 (1979). 10 (1979) made Dudley Moore a star, while Arthur (1981) made him a superstar in the 1980s, a lost decade for Segal. It was an example of a career burnout usually associated with the "Oscar curse" (his No Way to Treat a Lady (1968) co-star Rod Steiger, for example, was a great character actor whose career was run off the rails by the expectations raised by the Academy Award). George Segal has never won an Oscar, but more surprisingly, has only been nominated once, for Best Supporting Actor of 1966 for his role as Nick in Who's Afraid of Virginia Woolf? (1966).
That he didn't return to the promise of the early 1970s may be the unintended consequence of his focusing on comedy to the detriment of drama. The comedy A Touch of Class (1973) made him a million dollar-per-film movie star, and that's what he concentrated on. Segal began relying on his considerable charm to pull off movies that had little going for them other than their star, and it backfired on him. These films weren't infused with the outrageously funny, subversive comedy of Where's Poppa? (1970), a success from his first period that he enjoyed along with co-star Ruth Gordon and director Carl Reiner.
When Segal first made it in the mid-1960s, he established his serious actor bona fides with a deal he cut with ABC-TV that featured him in TV adaptations of Broadway plays. He also played a very memorable Biff Loman in Death of a Salesman (1966), shining in performance in counterpoint to the vital presence that was Lee J. Cobb's Willy Loman. It was a good life for an actor, and he took time to show off his banjo-playing skills by fronting the Beverly Hills Unlisted Jazz Band, with which he cut several records.
While the 1980s were mostly a career wasteland for Segal, with no starring roles in hit films, he remained a popular figure on television, and appeared regularly on The Tonight Show Starring Johnny Carson (1962), where he would routinely sing and play the banjo during interviews. After a major role in the surprise hit Look Who's Talking (1989), he co-starred with Bette Midler and James Caan in For the Boys (1991), leading to a career revival in the 1990s, using his flair for comedy as part of the ensemble cast of Just Shoot Me! (1997). In the 2010s, he co-starred as the eccentric but lovable grandfather on the hit sitcom The Goldbergs (2013). On February 14, 2017, he received a star on the Hollywood Walk of Fame for Television on his 83rd birthday. George Segal died at age 87 of complication from bypass surgery on March 23, 2021 in Santa Rosa, California.- Actor
- Producer
- Composer
The legendary gangsta hip-hop emcee Ice-T was born Tracy Marrow on February 16, 1958, in Newark, New Jersey. He moved to Los Angeles, California, to live with his paternal aunt after the death of his father while he was in the sixth grade; his mother had died earlier when he was in the third grade. His aunt lived in the South Los Angeles district of Crenshaw, colloquially referred to as South Central. He became immersed in the street life of the inner-city and eventually became a member of the West Side Rollin 30s Original Harlem Crips.
In 1979, Marrow joined the Army after leaving Crenshaw High School, but his 4-year hitch was enough for him, as he was a leader, not a follower. "I didn't like total submission to a leader other than myself," he said. After ETSing from the Army in 1983, he returned to South Central with the intention of becoming a hip-hop musician. More than music, his life got caught up in street life as as a jewel thief and as a pimp. (His nomme de guerre, Ice T, is an homage to the fabled pimp and raconteur Iceberg Slim (Robert Beck). He committed himself totally to his music after a 1985 car crash.
As a musician, Ice-T played a major role in the creation of the gangsta incarnation of hip-hop music and was a colossus of the West Coast hip-hop scene, despite his East Coast, greater New York, origins. Though his music displays a political consciousness, like the indictments of racism that were a hallmark of seminal hip-hop group Public Enemy, it also is nihilistic as befits a chronicler of street life. His most infamous song, the heavy metal "Cop Killer," was one of the major battle in the cultural wars of the 1990s, in which cultural conservatives enlisted the Moses of the right wing, Charlton Heston, to get Ice-T dropped from his then-label, Sire/Warner Bros.
The charismatic Ice-T has also achieved success as an actor in movies and on TV. He plays Detective Odafin Tutuola on the TV series Law & Order: Special Victims Unit (1999), which is ironic for someone famous for "Cop Killer" and his feud with the L.A.P.D. Ice-T currently resides in North Bergen, New Jersey, with his wife, Coco Austin.- Actor
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David Hemmings, one of the great English cinema icons of the 1960s, was born in Guildford, Surrey, on November 18, 1941, to a cookie merchant and his wife. He was educated at Glyn College, Epsom, but while still a child, Hemmings made his first forays into the world of entertainment. An accomplished singer, he toured as a boy soprano with the English Opera Group, famed for his performances of the works of Benjamin Britten. Britten, who befriended the youngster, wrote some roles specifically for Hemmings, including that of "Miles" in "The Turn of the Screw". Hemmings subsequently took up painting after his career as a soprano was ended by his transit through puberty. He studied painting at the Epsom School of Art, where he staged the first exhibition of his work at the school when he was 15 years old.
Hemmings made his film debut in 1954, with The Rainbow Jacket (1954) for Ealing Studios. He also had bit part in Otto Preminger's 1957 version of Saint Joan (1957). In his 20s, he returned to singing, appearing at nightclubs before concentrating on the stage and the cinema. As the youth culture hit Britain in the late 50s (the Notting Hill race riots of August 1958 limned in Julien Temple's 1986 film Absolute Beginners (1986) being a kind of bookmark signaling its arrival), Hemmings was in the right place at the right time to capitalize on his skills and looks. Boyish-looking, with large, protuberant blue eyes covered with heavy lids, his face was at once startling and decadent while simultaneously conveying an air of fragility. He starred in pop music movies Sing and Swing (1963) and Be My Guest (1965), as well as co-starring in one of Michael Winner's first films, The Girl-Getters (1964), with Oliver Reed.
The 24-year-old Hemmings desperately wanted what would become his career-defining role, as the morally jaded fashion photographer Thomas in master-director Michelangelo Antonioni's Blow-Up (1966). He was up against the crème of British actors, including Terence Stamp, who already had an Oscar nomination under his belt and was conventionally handsome.
Hemmings thought he had blown his audition as Antonioni shook his head constantly throughout his audition. However, he later found out the great director had a mild form of Tourette's which caused him to move his head from side to side.
The role made him a star and, for a while, a darling of the pop culture filmmaking that was expected to revolutionize the English-speaking cinema in the 1960s, after the 1964 Best Picture Oscar-win of Tony Richardson's Tom Jones (1963). He was cast as Mordred in the big-screen adaptation of Lerner & Lowe's musical Camelot (1967) with Richard Harris and Hemmings Blow-Up (1966) co-star Vanessa Redgrave to critically panned results. The same year that "Camelot" was released (1967), he put out a pop single ("Back Street Mirror") and an album, "David Hemmings Happens", recorded in Los Angeles. His album was produced by Jim Dickinson, the early producer of The Byrds, and featured instrumental backing by several members of group. It was re-released on CD in 2005.
In 1968, he appeared as Dildano opposite Jane Fonda (in her incarnation as a sexpot) in Roger Vadim's kitsch classic Barbarella (1968).
However, to reduce stereotyping and his identification with pop culture filmmaking, he took on the role of the anti-hero Captain Nolan in Tony Richardson's masterful satire The Charge of the Light Brigade (1968) and later, the eponymous role in Alfred the Great (1969). While both films were imbued with the counter-cultural attitudes of their times, the roles themselves were rather straightforward. Hemmings had reached the summit of his career as an actor. These were the heights he never reached again.
As the quality of his roles declined, Hemmings turned more to directing. He had directed his first film in 1972, helming the thriller Running Scared (1972) which starred Gayle Hunnicutt, his wife from 1968 to 1974. Hemmings also co-wrote the script. In the 1970s, he had relocated to Malibu, California to live with Hunnicutt, and the fabled beach community which was his home for the next generation. In 1975, he starred as Bertie Wooster in the Andrew Lloyd Webber musical, "Jeeves", one of Lord Webber's few flops.
Hemmings formed the independent production company Hemdale Corp. with his business partner, John Daly, in the early 1970s as a tax shelter. He was able to use Hemdale and his role as a producer to vivify his directing career. In 1979, Hemmings the director first attracted major attention with Just a Gigolo (1978), but the film was a flop in spite of its interesting cast. After directing the 1981 adventure film Treasure of the Yankee Zephyr (1981) and an adaptation of James Herbert's novel "The Survivor", he focused on TV directing. He soon became one of the top directors of American action TV programs, including The A-Team (1983), Airwolf (1984), Magnum, P.I. (1980) and Quantum Leap (1989).
However, in the nineties, he abandoned directing, and returned to live in the UK. The role of "Cassius" in Gladiator (2000) heralded his full-time return to acting. He was also memorable in a small role in Martin Scorsese's Gangs of New York (2002). But it was his last major role, in the cinema adaption of Graham Swift's Last Orders (2001), that showed Hemmings at the top of his talent. Unrecognizable from the boy-man of 1966-70, he was memorable as the ex-boxer who ruefully remembers the past with his remaining buddies as they travel to throw the ashes of a departed friend into the sea. That two of the other major roles were filled by Michael Caine and Tom Courtenay, two other British actors whose careers first flourished in the 1960s, added to the poignancy of this tale of men trying to recapture lost time. He also appeared, less memorably, in The League of Extraordinary Gentlemen (2003) opposite the ultimate 60s male British cinema icon, Sean Connery.
David Hemmings died of a heart attack on December 3, 2003, in Bucharest, Romania, on the set of Blessed (2004), after playing his scenes for the day. He was 62 years old. His autobiography, "Blow Up... and Other Exaggerations" was published in 2004.- Actor
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Don Knotts, the legendary television character actor, was born Jesse Donald Knotts on July 21, 1924 in Morgantown, West Virginia, to William Jesse Knotts and the former Elsie Luzetta Moore. He was the youngest of four sons in a family that had been in America since the 17th century.
His first stint as an entertainer was as a ventriloquist, performing paid gigs at parties and other events in Morgantown. He decided to make a stab at a career in show business, moving to New York City after graduating from high school, but he only lasted in the Big Apple for a few weeks. He decided to go to college, enrolling at West Virginia University but, when World War II engulfed America, he enlisted in the United States Army. The 19-year-old soldier was assigned to the Special Services Branch, where he entertained the troops. It was while in the Army that Don ditched ventriloquism for straight comedy.
Don returned to West Virginia University after being demobilized. After graduating with a degree in theater in 1948, he married and moved back to New York, where connections he had made while in the Special Services Branch helped him break into show business. In addition to doing stand-up comedy at clubs, he appeared on the radio, eventually playing the character "Windy Wales" on "The Bobby Benson Show". From 1953 to 1955, he was a regular on the soap opera Search for Tomorrow (1951). Destiny intervened when he was cast in the small role of the psychiatrist in the Broadway play "No Time for Sergeants", which starred Andy Griffith, who would play a large part in Don's future career. Don also appeared in the film adaption of the play with Griffith.
Don's big break before he hooked up again with Andy Griffith was a regular gig on the The Steve Allen Plymouth Show (1956) hosted by Steve Allen, starting in 1956. He became well-known for his "nervous man" shtick in the "Man-on-the-Street" segments that were a staple of Allen's show. His character in the segments was a very nervous man obviously uptight about being interviewed on camera. He developed this into the fidgety, high-strung persona that he used successfully for the rest of his career.
When "The Tonight Show" moved to Hollywood in 1959 with new host Jack Paar, Don also moved to California as a regular. However, he was soon cast in Andy Griffith's new television series about a small-town sheriff, The Andy Griffith Show (1960), in the role that would make him a legend. For playing "Deputy Barney Fife", Don was nominated for an Emmy Award for Best Supporting Actor five times from 1961 to 1967, winning each time. He soon tasted big-screen success, starring in The Incredible Mr. Limpet (1964). Don cut back his appearances on The Andy Griffith Show (1960) to concentrate on making movies after signing a five-year contract with Universal Pictures. For Universal, Don appeared in The Ghost and Mr. Chicken (1966), The Reluctant Astronaut (1967), The Shakiest Gun in the West (1968), The Love God? (1969) and How to Frame a Figg (1971). His mid-1960s popularity as a movie comedian began to wane towards the end of the decade, and the contract was not renewed. Don returned to television as the star of his own variety show, but it was quickly canceled.
During the 1970s, Don had a spotty career, appearing in regional theater and making guest appearances on other television series. He eventually made some slapstick movies with Tim Conway for the Walt Disney Company, but it wasn't until the end of the decade that he tasted real success again. He was cast as would-be-swinger landlord "Ralph Furley" on the popular sitcom Three's Company (1976) after the original landlords, "The Ropers", were spun off into their own series. Since the show was canceled in 1984, he appeared as "Barney Fife" for a 1986 reunion of The Andy Griffith Show (1960) and in television guest spots, including a recurring gig as the pesky neighbor "Les Calhoun" on Griffith's Matlock (1986) series until 1992.
He remained busy for the next ten years touring with plays and doing voice-over work for cartoons. In 2005, Don provided the voice of "Mayor Turkey Lurkey" in Disney's animated film Chicken Little (2005). It turned out to be one of his final films. He died at age 81 on February 24, 2006.- Actor
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John Heard was a very talented actor who established himself as a respected thespian in the late 1970s and early '80s, though he is perhaps better known for his turn as Peter McCallister, Kevin McCallister's (Macaulay Culkin) father in the Home Alone (1990) movies.
John was born in Washington, D.C., to Helen (Sperling), who acted in community theatre, and John Heard, who worked for the U.S. government. John established himself with roles in the movies Between the Lines (1977), Chilly Scenes of Winter (1979) (a.k.a. "Head Over Heels"), and Heart Beat (1981) (in which he played Jack Kerouac to Nick Nolte's Neal Cassady and Sissy Spacek's Carolyn Cassady), before giving a tour de force performance as a hideously wounded (both physically and psychologically) Vietnam veteran in Cutter's Way (1981) (a.k.a. "Cutter and Bone") opposite Jeff Bridges. He also shined as Reverend Dimmesdale (one of America's first religious hypocrites) in the 1979 PBS version of Nathaniel Hawthorne's The Scarlet Letter (1979).
Both "Chilly Scenes of Winter" and "Cutter's Way" (originally released as "Head Over Heels" and "Cutter and Bone", respectively) had been re-released under new titles after failing in their first go-rounds, such was the quality of the films. The two re-releases helped redefine the practice by which major studios handled smaller, art house quality pictures by releasing them carefully to select theaters with bespoke marketing campaigns so they reached the proper audience. (Studios would later develop their own art film-independent film subsidiaries to handle such pictures, so they didn't "fall through the cracks" like the first releases of the two Heard films.)
By the early 1980s, Heard seemed on his way to establishing himself as a major American actor, if not on the path to movie stardom. At the time, there was a joke that involved confusing Heard with John Hurt and William Hurt because of the similarity of their last names. At the time these contemporaries were considered equal in terms of their star power.
In the early '80s, it would not have been unreasonable to predict that Heard would become an Oscar winner or a multiple nominee. He continued to work on A-List projects, playing the not-so-sympathetic son to Geraldine Page in The Trip to Bountiful (1985) (for which Page won her own Oscar) and Tom Hanks's adult rival in Big (1988), but by the latter part of the decade he had failed to establish himself as a leading man and was playing supporting roles. Also appearing on television, he was nominated for an Emmy for his turn as a corrupt police detective on The Sopranos (1999).
John Heard died on July 21, 2017, in Palo Alto, California.- Actress
- Producer
- Writer
Jill Ireland was a British-American actress best known for her appearance as "Leila Kalomi," the only woman Mr. Spock ever loved (in the Star Trek (1966) episode, This Side of Paradise (1967)) and for her many supporting roles in the movies of Charles Bronson. She is also known for her battle with breast cancer, having written two books on her fight with the disease and serving as a spokesperson for the American Cancer Society.
Jill Dorothy Ireland was born in London on April 24, 1936, to wine merchant Jack Ireland and his wife Dorothy, who were fated to outlive their daughter. Young Jill started her entertainment career at age 16 as a dancer, and made her screen debut in 1955, in Michael Powell's Oh... Rosalinda!! (1955). On May 11, 1957, she married actor David McCallum, whom she met on the set of the Stanley Baker action picture Hell Drivers (1957). In the mid-'60s, they moved to the United States so McCallum could star as agent "Ilya Kuryakin" in the TV series The Man from U.N.C.L.E. (1964). She got steady work on American television and would co-star with her husband in five episode of the series in 1964, 1965 and 1967.
Ireland separated from McCallum, with whom she had two biological sons and one adopted son, in June 1965. He filed for divorce in August 1966, and it was finalized in February 1967. On October 5, 1968, she married Charles Bronson, who was 15 years her senior and still several years away from coming into his own as a leading man. They had first met when McCallum introduced them on the set of The Great Escape (1963). With Bronson, she had two children, a daughter born to the couple in 1971, and an adopted daughter. They first co-starred together in the 1970 French movie Rider on the Rain (1970), which made Bronson a major star in Europe (she had first played an uncredited bit part in his movie London Affair (1970), released that same year). They starred in 13 more pictures over the next 17 years, a period during which Bronson and Ireland rivaled Clint Eastwood and Sondra Locke as the most prolific screen couple. During her marriage to Bronson, Ireland appeared in only one TV episode, one TV movie and one theatrical picture that didn't star her husband.
She was diagnosed with cancer in her right breast in 1984 and underwent a mastectomy. She wrote about her battle and became an advocate for the American Cancer Society, which led to the organization giving her its Courage Award. Ireland was presented with the award by President Ronald Reagan. Tragically, she lost her battle with the disease after it metastasized and died at her home in Malibu, California, on May 18, 1990, aged only 54. She was survived by her husband, children, stepchildren, parents, brother, and extended family.- Actor
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Hal Holbrook was an Emmy and Tony Award-winning actor who was one of the great craftsmen of stage and screen. He was best known for his performance as Mark Twain, for which he won a Tony and the first of his ten Emmy Award nominations. Aside from the stage, Holbrook made his reputation primarily on television, and was memorable as Abraham Lincoln, as Senator Hays Stowe on The Bold Ones: The Senator (1970) and as Capt. Lloyd Bucher on Pueblo (1973). All of these roles brought him Emmy Awards, with Pueblo (1973) bringing him two, as Best Lead Actor in a Drama and Actor of the Year - Special. On January 22, 2008, he became the oldest male performer ever nominated for an Academy Award, for his supporting turn in Into the Wild (2007).
He was born Harold Rowe Holbrook, Jr. on February 17, 1925 in Cleveland, Ohio, to Eileen (Davenport), a vaudeville dancer, and Harold Rowe Holbrook, Sr. Raised primarily in South Weymouth, Massachusetts by his paternal grandparents, Holbrook attended the Culver Academies. During World War II, Holbrook served in the Army in Newfoundland. After the war, he attended Denison University, graduating in 1948. While at Denison, Holbrook's senior honors project concerned Mark Twain.
He later developed "Mark Twain Tonight!," the one-man show in which he impersonates the great American writer Mark Twain, aka Samuel Clemens. Holbrook learned his craft on the boards and by appearing in the TV soap opera The Brighter Day (1954). He first played Mark Twain as a solo act in 1954, at Lock Haven State Teachers College in Pennsylvania. The show was a success that created a buzz. After seeing the performance, Ed Sullivan, the host of TV's premier variety show, featured him on The Ed Sullivan Show (1948) on February 12, 1956. This lead to an international tour sponsored by the U.S. Department of State, which included appearances in Iron Curtain countries. Holbrook brought the show to Off-Broadway in 1959. He even played Mark Twain for President Dwight D. Eisenhower. The 1966 "Mark Twain Tonight" Broadway production brought Holbrook even more acclaim, and the Tony Award. The show was taped and Holbrook won an Emmy nomination. He reprised the show on Broadway in 1977 and in 2005. By that time, he had played Samuel Clemens on stage over 2,000 times.
Among Holbrook's more famous roles was "The Major" in the original Broadway production of Arthur Miller's "Incident at Vichy", as Martin Sheen's significant other in the controversial and acclaimed TV movie That Certain Summer (1972), the first TV movie to sympathetically portray homosexuality, and as Abraham Lincoln in Carl Sandburg's acclaimed TV biography of the 16th President Lincoln (1974), a role he also portrayed in excellent performances too in North & South: Book 1, North & South (1985) and North & South: Book 2, Love & War (1986). He also is known for his portrayal of the enigmatic "Deep Throat" in All the President's Men (1976), one of the major cinema events of the mid-'70s. In the 1990s, he had a regular supporting role in the TV series Evening Shade (1990), playing Burt Reynolds' character's father-in-law.
Hal Holbrook died on January 23, 2021, at 95 years, in Beverly Hills. He was buried in McLemoresville Cemetery in Tennessee with his wife Dixie Carter.- Actress
- Soundtrack
Eleanor Jean Parker was born on June 26, 1922, in Cedarville, Ohio, the last of three children born to a mathematics teacher and his wife. Eleanor caught the acting bug early and began performing in school plays. She was was so serious about becoming an actor, that she attended the Rice Summer Theatre on Martha's Vineyard in Massachusetts, beginning when she was 15 years old. She was offered her first screen test by a 20th Century-Fox talent scout while attending Rice, but turned the opportunity down to gain professional stage experience in Cleveland after graduating from high school.
She moved on to California to continue her acting studies at the Pasadena Playhouse. It was there, while sitting in the audience of a play being put on at the Playhouse, that she was again offered a screen test - this time from a Warner Brothers' scout - and again declined, wanting to finish her first year at the Playhouse. When the year was up, Eleanor contacted Warner Brothers to take them up on their offer of a screen test and was signed as a contract player two days after it was shot.
She was cast in Raoul Walsh's They Died with Their Boots On (1941), but her performance was left on the cutting room floor.
She was then cast in short subjects and given other assignments typical of novice film actors, to enable them to learn their craft, such as voice-acting and appearances in other actors' screen tests. Finally, she was promoted to the B-picture unit, making her feature debut in Busses Roar (1942).
Her beauty meant she was not forgotten, and she was cast in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (1943), directed by Michael Curtiz and starring Walter Huston as the U.S. ambassador to the USSR. Eleanor played his daughter in the film, which became notorious in the McCarthy era for its glorification of "Uncle Joe" Stalin. The film proved significant to Eleanor, as she met a future husband on the set, Navy Lieutenant. Fred L. Losse, Navy dentist. The marriage was a brief wartime affair, lasting from March 21, 1943, to December 5, 1944.
She went back to the B's with The Mysterious Doctor (1943), then bounced back to the A-list for Between Two Worlds (1944), a remake of the Leslie Howard vehicle Outward Bound (1930) in which she played Paul Henreid's fiancee (both die from suicide, but in Hollywood logic that didn't mean they couldn't frolic together on the silver screen). Eleanor then made two more B-quickies in 1944, Crime by Night (1944) and The Last Ride (1944), before graduating to the A-list for good with Pride of the Marines (1945) with John Garfield.
In the 1946 Warner Bros. remake of Of Human Bondage (1946), she took the role that Bette Davis had made good in 1934 (ironically, at rival RKO). Though Parker would be gaining kudos and Oscar nominations by the beginning of the next decade, her portrait of Mildred was weak in comparison with Davis's dynamic performance.
Parker received the first of her three Best Actress Oscar nominations for playing a prisoner in Caged (1950), and won the best actress award at the Venice Film Festival. She was also nominated the next year for playing the cop's wife who shared a secret with the neighborhood abortionist in William Wyler's Detective Story (1951). Her third and last Oscar nod came for Interrupted Melody (1955), wherein she played an opera singer struck down by polio. She could easily have been nominated that same year for her portrayal of Frank Sinatra's faux crippled wife in Otto Preminger's brooding masterpiece The Man with the Golden Arm (1955), adapted from the novel by Nelson Algren.
Parker proved herself to be a supremely talented and very versatile lead actress. The versatility was likely one of the reasons she never quite became a major star. Audiences attending a movie starring Parker never knew quite what to expect of her; if they even remembered she was the same actress they had seen before in a different type of role in another picture. Her turns in Detective Story (1951) and The Man with the Golden Arm (1955) could not have been more different. Parker's stardom and subsequent fame (and remembrance) suffered from her focusing on being a serious actress and creating a character who fit the motion picture she was in, rather than playing a character over and over, as most actors do. She probably best remembered for the relatively tame part as the Baroness in The Sound of Music (1965).
She received an Outstanding Lead Actress Emmy nomination in 1963 for her appearance in The Eleventh Hour (1962) episode Why Am I Grown So Cold? Despite the success of The Sound of Music (1965) being completely attributed to #1 box office sensation Julie Andrews, it's probably Parker's best-remembered role.
Her appearances in such fare as The Oscar (1966) (the cast of which the Playboy Magazine reviewer derided as "has-beens and never-will-bes") and the movie adaptation of Norman Mailer's indescribable existential potboiler An American Dream (1966) with fellow Oscar-nominee Stuart Whitman signaled that Miss Parker was now inscribed on the list of the has-beens.
She had one last hurrah, winning a Golden Globe nomination in 1970 as best lead actress for her role in the TV series Bracken's World (1969), but unfortunately times had changed during the tumultuous 1960s. Her last film role was in a Farrah Fawcett bomb, Sunburn (1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (1991).
Eleanor Parker retired far too soon for those who were her fans, and those who appreciated a superb actress.- Director
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John Ford came to Hollywood following one of his brothers, an actor. Asked what brought him to Hollywood, he replied "the train". He became one of the most respected directors in the business, in spite of being known for his westerns, which were not considered "serious" film. He won six Oscars, counting (he always did) the two that he won for his WWII documentary work. He had one wife; a son and daughter; and a grandson, Dan Ford who wrote a biography on his famous grandfather.