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- "Kewpie" Ross was an obese comedian who appeared in silent two-reel slapstick comedies with two other heavyweights, Frank Alexander and Hilliard Karr, in F.B.O.'s low-budget "Ton of Fun" series at the end of the silent era. The troika of very fat comedians, each of whom topped the scale at 300 lbs (Alexander weighed 350 at the height of his fame), made their debut as a comedy team in 1925's Tailoring (1925), with Alexander billed as "Tiny Alexander" (he would later take on the moniker "Fatty" for the series) and Karr as "Fat Karr".
Produced by 'Joe Rock', the shorts were made by the Poverty Row studio Standard Photoplay Co. and released by Joseph P. Kennedy's Film Booking Office (F.B.O.), the precursor to R.K.O Radio Pictures. The series was made, in those far-less politically correct, less health-conscious times, to serve as part of the bill for budget-conscious theaters catering to the masses in the days when the movies were king, and television still a gleam in the eyes and imaginations of inventors and radio moguls.
Advertized by F.B.O. as the "three fattest men on the screen, Kewpie romped across the screen with fellow fat men Fatty Alexander and Fat Karr in 34 shorts, many with the adjective "Heavy" in the title (The Heavy Parade (1926), Heavy Fullbacks (1926), Heavy Infants (1928) and the strangely named Heavyation (1926)). Also billed as "The Three Fatties", the "Ton of Fun" team offered the most anarchic comedy per pound available at the time or after. In the series entry Three of a Kind (1926), The Three Fatties play entertainers at a nightclub/restaurant. In short order, a mêlée breaks out between the audience and A Ton of Fun, with the expected result of tables overturned and dishes smashed.
In another entry, Heavy Love (1926), they portray three of the most inept carpenters who ever drove a nail through a board, let alone a skull. The Three Fatties get themselves a job working for a young lady (Lois Boyd) and end up building and subsequently destroying the most bizarre house ever seen.
After making the last "Ton of Fun" comedy in 1928, A Joyful Day (1928), "Kewpie" Ross retired from the scene. - The venerable British stage and film actor A.E. Matthews was born Alfred Edward Matthews on November 22, 1869 in Bridlington, East Riding of Yorkshire, England. The actor nicknamed "Matty" established himself on the British and American stage and in British films, taking up the craft after working as a clerk in a London bookstore. He said that after he learned that the great actor Sir Henry Irving (the first thespian to be knighted) had worked at the store, and used the very same desk he did, he decided to dedicate his life to the theatre.
The former bookseller started at the Princess Theatre as a "call boy," the factotum who calls the actors to the stage. Eventually, he was given acting roles, and appeared on stage with such greats as Ellen Terry (the aunt of Sir John Gielgud and Sir Gerald du Maurier. Matty made his Broadway debut on August 8, 1910 at the Garrick Theatre, in "Love Among the Lions." Later that year he appeared as Algernon Moncrieff in a production of Oscar Wilde's The Importance of Being Earnest (1952) at the Lyceum Theatre. He did not appear again on The Great White Way until 1921, when he played Jerry in the comedy Peg o' My Heart (1922) opposite the legendary American stage actress Laurette Taylor. Later that year he played the eponymous lead in Bulldog Drummond (1929).
A.E. Matthews appeared on Broadway an additional eight times in the 1920s and appeared in seven Broadway productions in the 1930s. Of his appearance in W. Somerset Maugham' comedy "The Breadwinner" in 1931, "Time Magazine" credited his acting with contributing to the success of the comedy, which had problems in its third Act and was described by the "Time" reviewer as "simply a bag of parlour tricks performed by dialog." The reviewer praised "gentle, toothy Mr. Matthews, who somehow suggests the kind old water rat in The Wind in the Willows."
Matty's last appearance On Broadway was in 1949, in William Douglas-Home's comedy "Yes, M'Lord," with a cast that featured a young Elaine Stritch. He appeared in numerous roles on the British stage.
He made his film debut in 1916, in the silent comedy Wanted: A Widow (1916). He appeared in two more flicks in 1916, one in 1918, and two more silent films in 1918 before devoting himself to stage-work. He did not make his talking picture debut until 1934, when he supported George Arliss in The Iron Duke (1934), which also featured Emlyn Williams. He made one more movie in the 1930s, the backstage drama Men Are Not Gods (1936) (1936) which featured a young Rex Harrison. His film career began in earnest in 1941, when he appeared in Anthony Asquith's Quiet Wedding (1941), the propaganda film This England (1941) (again with Emlyn Williams), and Leslie Howard's "'Pimpernel' Smith (1941)_. He appeared in another 41 movies from 1942 to 1960, including The Life and Death of Colonel Blimp (1943), _Million Pound Note, the (1956), The Ship Was Loaded (1957), and Around the World in 80 Days (1956).
A.E. Matthews died on July 25, 1960. He was 90. - Writer
- Script and Continuity Department
- Director
Writer-director Abraham Lincoln Polonsky, one of the most prominent victims of the Hollywood blacklisting of communists and social progressives in the post-World War II period, was born on December 5, 1910, in New York, New York. An unreconstructed Marxist, Polonsky never hid his membership in the Communist Party. (Indeed, it was known by the federal government during World War II, when he was a member of the O.S.S. working in France with the Resistance, given credence to the charge that the House Un-American Activities Committee wasn't interested so much in "ferreting out" communists and fellow-travelers as in making progressives of the F.D.R. coalition publicly repudiate their beliefs in a form of public penance.) After being named by former fellow O.S.S. member Sterling Hayden, Polonsky himself was arraigned before HUAC in 1951. After defying the committee by refusing to name names, he was blacklisted for 17 years by the U.S. film industry.
As director and screenwriter, Polonsky was an "auteur" of three of the great film noirs made in the last century: Body and Soul (1947) (screenplay; directed by fellow CPUSA member Robert Rossen, who kept his career by "naming names"), Force of Evil (1948) (which he wrote and directed), and Odds Against Tomorrow (1959) (which he wrote using a front).
Polonsky studied English at City College of New York (CCNY) and, after briefly shipping out as a merchant seaman, went to Columbia Law School. Polonsky's father wanted him to have a profession, and he preferred the law over medicine. The young Polonsky had wanted to be a writer, and he taught English at CCNY while matriculating at Columbia Law, but the law was his first career. After graduation from Columbia Law, he became a practicing attorney, which ironically, led to his career in screenwriting.
Gertrude Berg, the creative force behind the popular radio show "The Goldbergs" (which later made the transition to TV), was a client of his firm. Needing background for an episode that would feature the machinations of the law, Polonsky was assigned to Berg as an expert. Berg was so impressed when Polonsky dictated a scene to his secretary, she hired him as one of her writers. Thus, in 1937, by a serendipitous route charted originally by his father, who wanted his son to be a professional, not a writer, Polonsky was on his way to becoming a hot, Oscar-nominated screenwriter and writer-director.
Polonsky eventually left Berg and became a labor organizer. In 1939, after organizing autoworkers at a General Motors plant near his home in Briarcliff, New York, he became the educational director of the Congress of Industrial Organization, the major labor federation for skilled workers, in upstate New York. While working as a labor organizer, Polonsky wrote his first novel, "The Discoverers", a novel dealing with New York City bohemians, radicals, and frustrated intellectuals. The book was optioned by a publisher that unfortunately went out of business; it remains unpublished to this day. However, he began to thrive as a novelist: Simon and Schuster published a novel he co-wrote, "The Goose Is Cooked," in 1942, and Little Brown published his sea-adventure story "The Enemy Sea," which originally had been serialized in "Colliers Magazine".
Paramount became interested in Polonsky and offered him a contract. However, as a dedicated anti-Nazi, Polonsky was determined to serve in the war despite being turned down for military service due to poor eyesight. Recruited by the O.S.S. (likely because of his communist background; it was said that during World War II, communists made the best secret agents due to their propensity for secrecy and their dedication to their ideology). He signed a contract with Paramount guaranteeing him a job after the war, and then was shipped off to London before serving in France as a liaison with the French underground.
Back from World War II, Polonsky alienated Paramount's head writer when he complained that his nominal boss had kept him waiting too long for their initial meeting. The peeved head writer gave him the Marlene Dietrich potboiler Golden Earrings (1947) as his first screenwriting assignment, and although he received a screen credit, he claimed that nothing he wrote made it to the screen. He quit Paramount to take a job with John Garfield's Enterprise Productions, which had a collectivist philosophy akin to the old Group Theater on Broadway, of which the former Julius Garfinkle (Garfield) had been a member. Garfield was a leftist, though not a member of the Communist Party, though he did employ director Robert Rossen, who was a member of CPUSA, as was Polonsky, who had joined during the Depression.
Working from Polonsky's script, Rossen shot the classic boxing drama Body and Soul (1947). Polonsky actually was allowed on the set (not a common occurrence for the film industry) and actively gave Rossen advice. Some critics see Polonsky as a "co-director," a claim Polonsky rejected as "no one," he said, "co-directs a Robert Rossen Picture." However, in the collectivist atmosphere of the studio, he was able to prevail over Rossen's conception of a "happy ending," ensuring that his own ending was part of the picture. Polonsky won an Oscar nomination for his screenplay for the film that was hailed as a classic by cineastes not long after its release. Garfield encouraged Polonsky to become a director, a development the screenwriter relished as it would give him more control over his screenplay and enable him to bring his vision to the screen just as he saw it. Adapting a 1940 crime novel "Tucker's People," Polonsky wrote and directed Force of Evil (1948), which has been hailed as the greatest low-budget film noir ever.
By the time production had wrapped, Enterprise had gone bankrupt, and Metro-Goldwyn-Mayer was impressed enough to pick up the picture, though its hard-hitting indictment of big business, capitalism and political corruption was not Louis B. Mayer's cup of tea. MGM essentially dumped the picture as the bottom half of a double bill released for the Christmas season. This classic noir, with its indictment of capitalist society, was not exactly Christmas fare, and as Turner Classic Movies' Robert Osborne has said, it was quickly forgotten until rediscovered in the early 1960s. It has been considered a classic for at least a generation and had a big influence on Francis Ford Coppola's The Godfather (1972), whose equation of crime with business, and business with criminal behavior had been aired 24 years before in Polonsky's debut. In a huge loss to American cinema, Polonsky's debut was to be his last directorial effort for 20 years.
Both Body and Soul (1947) and Force of Evil (1948) are about the deleterious effects of materialism on the soul, as both protagonists (both played by John Garfield operating at the peak of his talent) face the loss of their soul due to the temptation of big money. Indeed, it is easy to see why conservatives would be offended by Force of Evil (1948) as it arguably is the most radical film to have come out of mainstream Hollywood, and definitely is informed by Marxism.
Blacklisted after his uncooperative appearance before HUAC in April 1951, Polonsky did not get a chance to direct another film until 1968, when he helmed the production of the revisionist Western Tell Them Willie Boy Is Here (1969), which he turned into an indictment of genocide. Although he wrote screenplays and marketed them through fronts (most famously, with the indictment of racism Odds Against Tomorrow (1959), directed by Robert Wise, it wasn't until 1968 that he was credited on a film, for the screenplay for Don Siegel's exegesis of police corruption, Madigan (1968). After the release of the well-reviewed "Willie Boy," Polonsky enter4ed into "Fiddler on the Roof" territory and helmed the more light-hearted Romance of a Horsethief (1971). After that, he was told by his physician that his heart could not take the strain of movie directing, so he retired from that part of his work, though he continued to write screenplays until the end of his life.
After the tide of public opinion turned against the HUAC informers after Victor Navasky's 1980 history "Naming Names," Polonsky was rediscovered by scholars of the cinema. However, he proved a frustrating subject to those that wanted to ferret out the films that had been produced from his fronted-work screenplays. Similarly to his stand 40 years earlier, when he had refused to "name names," Polonsky refused to cite the pictures he had ghostwritten or to name the fronts he had used for his fronted screenplays during the days of the blacklist. He said he had given the men his word that he would not betray their confidence, and indeed, he refused to cite his anonymous work as he felt it would have gone back on his pledge to the men who had helped him through a tough period, as it would have resulted in them being denied credit for the work. Polonsky had bargained with them in good faith, and a man of principle, he refused to go back on his pledge to them.
An unrepentant Marxist until his death, Polonsky publicly objected when director Irwin Winkler sanitized his script for Guilty by Suspicion (1991) to make the character played by Robert De Niro a liberal rather than a communist. He also was prominent in objecting to the Academy of Motion Picture Arts & Sciences awarding an honorary Academy Award to director Elia Kazan, who was the most prominent of the people who "named names" before HUAC.
Abraham Polonsky died of a heart-attack in Beverly Hills, California, on October 26, 1999, convinced that he had been exonerated by history. As the auteur of three classic films that will live on in cinema history, he was right.- Adam Clayton Powell, Jr., who represented Harlem in the U.S. Congress from 1945 through 1971, was the first modern African American politician and the first Black Congressman to exercise real power in the halls of Washington, D.C. He succeeded his father as the pastor of Harlem's Abyssinian Baptist Church and parlayed the pulpit into a political career. Yet, after scaling the summit of power, Powell lost it all, seemingly fatigued by the failure of liberalism to deliver on providing the American Dream to all Americans, regardless of color, and tripped up by his own moral shortcomings.
Due to seniority, Powell eventually rose in Congress and in 1961, became chairman of the Education & Labor Committee, one of the critical committees in the House of Representatives. From this post, Powell was instrumental in passing legislation introduced by Presidents John F. Kennedy and his successor, Lyndon B. Johnson, including such watershed programs as Medicare and Medicaid. The social programs that were part of Johnson's vision of "The Great Society" were shepherded by Powell through his committee.
Adam Clayton Powell, Jr. and Education & Labor Committee set records in passing legislation as Johnson set out not only to equal but surpass Roosevelt and the New Deal by enacting liberal, progressive laws to help the common people in general and African Americans in particular. However, L.B.J. also sowed the seeds of the cancer that would destroy his presidency and undermine liberalism: The Vietnam War. Liberalism, which seemed so remarkably ascendant in the period of 1964-66, would be swamped at the polls in 1968 after suffering a setback during the by-election of 1966. As the inner-cities burned on TV, white society began to evince a severe backlash against African Americans.
Powell's absences from committee hearings became legion. It could be seen as symbolic of the anomie that was afflicting the African American community, that soon began afflicting liberalism in general, as a philosophy and political movement. It was if liberalism set off a cycle of violence both at home, in the ghettos, and abroad, in Vietnam.
Soon, Adam Clayton Powell seemed to lose interest. He became careless. Earlier, as a young man, his commitment to the church had been questioned. Some felt that he had just used the pulpit as a vehicle to obtain social position. Likewise, Powell's commitment to social progress began to be questioned.
In a bizarre development that showed Powell was losing his political as well as moral judgment, he lost a slander lawsuit. The Congressman from Harlem refused to pay the judgment against him, which made him subject to arrest. Powell curtailed trips to New York to avoid being incarcerated, and began spending more time in Florida and Bimini, where he lived ostentatiously. His failure to be present in Congress for roll-call votes became a scandal of its own. While petty corruption of the kind practiced by Powell had long been a hallmark of Congressmen and Senators (U.S. Senator Tom Dodd was censured in June 1967 for misusing campaign funds) for the chairman of one of the most powerful committees in Congress to be absent regularly could not be tolerated.
Adam Clayton Powell, Jr. won his 11th bid for reelection to Congress in 1966, but when he went to take the oath of office in January 1967, Speaker of the House refused to administer it to him. He was excluded from the chamber, and the House Democratic Caucus ousted Powell as chair of the Education & Labor Committee due to allegations of corruption.
The House of Representatives refused to let him take his seat until the completion of an investigation by a Special Committee empowered by the Judiciary Committee. After the Select Committee reported its findings, in March of 1967 the House voted 307 to 116 to censure Powell and declare his seat vacant. He also was fined $40,000.
Always a fighter, Powell and 13 of his constituents filed a federal lawsuit against the Speaker and other House officials. In his lawsuit, Powell claimed that his expulsion was unconstitutional as the Constitution mandated a two-thirds vote to expel a member of a Congressional body, a bar the House had failed to meet. In the meantime, Powell ran for his vacated seat in a special election held in April, and won. He did not retake his seat, but continued his legal battle through the federal courts. The U.S. Supreme Court ruled in June 1969, in the case of Powell v. McCormack, that the expulsion was unconstitutional, agreeing with Powell's argument that it took a two-thirds vote to exclude a member of Congress. Thus, Powell was able to retake his seat, but he had lost his seniority and his political power.
After being re-seated in Congress, Adam Clayton Powell, Jr. again was criticized for absenteeism, and in the June 1970 Democratic primary, he was defeated by Charles Rangel. Powell vowed to get on the ballot as an independent for the November election, but did not. Resigning as the minister of the Abyssinian Baptist Church, he moved to Bimini, where he lived until April 1972, when he was hospitalized in Miami. He died on April 4, 1972 from acute prostatitis. He was 63 years old. - Adela Rogers St. Johns was born Nora Adela Rogers on May 20, 1894 in Los Angeles, California, the daughter of legendary criminal defense attorney Earl Rogers, a brilliant barrister who drank himself to death at an early age. Lionel Barrymore won a Best Actor Oscar playing a mouthpiece based on her father in A Free Soul (1931), which was based on a 1927 novel written by Adela. A story of hers was adapted into another talkie classic, What Price Hollywood? (1932), the precursor of the 1937's A Star Is Born (1937) and its two remakes.
Earl Rogers, a lawyer whose reputation for winning acquittals in seemingly hopeless cases was so great that another legend of the bar, Clarence Darrow, used his services in a jury tampering case, was a friend of newspaper baron William Randolph Hearst. As a nineteen-year-old, the teen-aged Adela became a reporter for "San Francisco Examiner", Hearst's self-heralded "Monarch of the Dailies". As a cub reporter working her way up the ranks, she covered everything from crime and sports to politics and high society.
She quit the newspaper racket in the early part of The Roaring Twenties to became a freelance writer. During the halcyon years of The Jazz Age, she made her living interviewing celebrities for "Photoplay Magazine", the premiere movie rag of its time. She also began publishing short stories in top drawer magazines such as Hearst's "Cosmopolitan" and toiled in the belly of The Hollywood Beast of as a screenwriter before returning to the fold of the Hearst newspapers in the late 1920.
She remained a reporter until 1948, when she shifted her focus to writing books and teaching. In 1970,St. Johns was awarded the Presidential Medal for Freedom, the nation's highest civilian award, by President Richard Nixon. She got back in harness as a reporter for the "Examiner" in 1976, when the 82-year-old covered the trial of Patricia Hearst, William Randolph Hearst's granddaughter.
St. Johns married Richard Irving Hyland and Ivan St. Johns. She died on August 10, 1988 in Arroyo Grande, California at the age of 94. - Writer
- Producer
Adrian Scott, the producer of progressive films who was blacklisted as one of the Hollywood 10, was born into a middle-class Irish Catholic family in Arlington, New Jersey, on February 6, 1912, to Mary (Redpath) and Allan Scott. He established his reputation as a writer on various magazines before finding employment in the movie industry. As a screenwriter, Scott worked on Keeping Company (1940), The Parson of Panamint (1941), We Go Fast (1941) and Mr. Lucky (1943), but it was as a producer he made his biggest mark in Hollywood, helping to create the genre later known as "film noir". In the mid-1940s at R.K.O., working with director Edward Dmytryk and screenwriter 'John Paxton ', Scott produced Murder, My Sweet (1944), a detective thriller based on 'Raymond Chander's's "Farewell My Lovely", with 'Dick Powell' as Philip Marlowe. The team next made Cornered (1945) (again with Dick Powell) and So Well Remembered (1947), with Scott producing Clifford Odets Deadline at Dawn (1946), directed by Harold Clurman. But it was for the gritty noir masterpiece Crossfire (1947), the first Hollywood film to deal with anti-semitism, that the group is best known. "Crossfire" was nominated for five Academy Awards, including Best Actor in a Supporting Role (Robert Ryan, Best Actress in a Supporting Role (Gloria Grahame), Best Director (Dmytryk), Best Writing-Screenplay (Paxton) and Best Picture (Scott). Scott and his collaborator Dymytrk had reached the summit of their careers; for Scott, it would be the last motion picture he'd ever produce. Both he and Dmytryk were called before the House Un-American Actitivies Committee in 1947 and refused to name names. As a part of a common defense strategy crafted by Communist Party lawyers (Scott had joined the Party in 1944), he and Dymytrk and the eight others who became known to posterity as "The Hollywood 10", refused to answer any questions other than their names and addresses. The even denied the Committee the right to query them as to their membership in the Screen Writers Guild. The 10 claimed that the Firstst Amendment to the U.S. Constitution gave them the right to refuse HUAC's inquiry into their political beliefs as it was an unconstitutional violation of privacy. All members of the Hollywood 10 subsequently were found guilty of contempt of Congress and fined and jailed. All were blacklisted from the industry. Scott was sentenced to a year in prison and fined $1,000. (Dmytryk later recanted his communist past and was re-employed by Hollywood. Testifying before HUAC in 1951, he claimed that Scott had pressured him to put communist propaganda in his films.) On his part, Scott took on the Hollywood blacklist: He sued R.K.O. for wrongful dismissal, but the case was ultimately rejected by the Supreme Court in 1957. While blacklisted, Scott survived by writing for television under an assumed name, including such All-American fare as "Lassie" and the faintly subversive ("Steals from the rich/Gives to the poor!") "The Adventures of Robin Hood". He also produced one of the more remarkable American movies, the left-wing Salt of the Earth (1954), a film about a miner's strike that was made by Scott and other victims of the blacklist. Adrian Scott died of lung cancer in Los Angeles, on 25th December, 1973.- Allen "Al" Davis, the man who is synonymous with the Oakland Raiders franchise of the National Football League and its earlier American Football League incarnation, was born on the Fourth of July, 1929 into a Jewish family in Brockton, Massachusetts. Raised in Brooklyn and educated at the borough's Erasmus High School, he played football at Syracuse University, but was cut from the varsity team.
After graduating with a bachelor of arts degree in English from Syracuse in 1950, he began his football career as a line coach at Adelphi College from 1950 to 1951. He became head coach of the U.S. Army team at Ft. Belvoir, Virginia from 1952 to 1953, then served as line coach at The Citadel. In 1957, he moved on to the University of Southern California, where he served as line coach for two years.
With the placing of an American Football League franchise in Los Angeles, Davis was able to move into pro ball. He served as the offensive end coach of the AFL's Los Angeles Chargers from 1960 to 1962, and then was named head coach and general manager of the AFL's struggling Oakland Raiders at the age of 33. Davis took a team that was 9-33 in th first three years of its existence and whipped them into shape in one season. In 1963, his first year as a pro head coach, he was voted the AFL Coach of the Year after his Raiders went 10-4. His success in his four season as head coach led to him being named AFL Commissioner in April 1966.
His reign was short-lived. Although the AFL had always contended with the NFL in the signing of college players and Canadian Football League Players, Davis launched an aggressive campaign to recruit top NFL's top players, thus driving up the salaries of football players in both leagues. Due to the rising costs of salaries, AFL owners met with NFL owners and agreed to a merger after the 1970 season. Davis opposed the merger and quit as AFL Commissioner, returning to Oakland as managing general partner of the Raiders. The glory days of Al Davis were about to commence.
For a generation, the Oakland (and later Los Angeles) Raiders became one of the top teams in pro football, winning 13 divisional championships, one AFL title (1967), and three Super Bowls from 1967 through 1985. The Raiders in 1985 were one of the most famous, and storied franchises in all American sports, up there with the Yankees, Red Sox, Lakers, Celtics, and Canadiens.
Beginning in 1980, Al Davis played David against the Goliath that was NFL Commissioner Pete Rozelle (under whom the merger of the AFL and NFL was effected). Davis wanted to move his Raiders to Los Angeles after the city of Oakland refused to expand the Oakland Colesium, but his plans were blocked by the League. Davis filed an anti-trust lawsuit against the NFL, and his franchise became the Los Angeles Raiders for the 1982 NFL season after a federal district court ruled in Davis' favor. The following season, Los Angeles Raiders won Superbowl XVIII in 1984. It was the high-water mark of Al Davis' career.
The team has won only one conference championship in the last 22 seasons, the back-in-Oakland (having returned in 1995 after the city agreed to expand the Colesium) losing Super Bowl XXXVII in 2002 to the Buccaneers. Davis seemed to be consumed by lawsuits against the NFL and municipalities.
Other than his three Super Bowl victories, the great Al Davis will be remembered for being a pioneer in for providing opportunity to minority players, coaches and executives when pro football was still dominated by racist owners hostile to African Americans. Int he AFL, Davis scouted and drafted African American players from the traditionally black colleges ignored by the NFL. He was the first owner to hire a Hispanic-American head coach (Tom Flores) and an African American head coach (Art Shell). His selection of Amy Trask to be CEO of the Raiders made him the first (and lamentably, so-far the only) NFL owner to put a woman in charge of an NFL team.
Al Davis was inducted into the Pro Football Hall of Fame as a Team and League Administrator in 1992. - Actor
- Director
- Writer
Al Freeman, Jr. was an actor and director who was the first African American to win a Daytime Emmy Award for acting. His most famous role was that of Police Captain Ed Hall in the soap opera One Life to Live (1968), which brought him the Emmy in 1979. He was a regular on the soap from 1972 through 1987, and appeared off and on as Captain Hall from 1988 through 2000. He received three additional Emmy nominations playing the role in 1983, '86 and '87. Freeman also was the first African American to direct a TV soap opera, helming "One Life to Live" episodes.
Born on March 21, 1934 in San Antonio, Texas, he was raised primarily by his father, an actor and jazz musician, after his parents divorced. Al Freeman father and son left Texas, moving to Cleveland, Ohio. After studying drama at Los Angeles City College, Freeman fils moved to New York City to act in the theater, making his Broadway debut in Ketti Frings's "The Long Dream" in 1960, a flop that closed after five performances. He had a major success playing the lead in James Baldwin's play "Blues for Mister Charlie" in 1964. In 1970, he appeared in "Look to the Lilies" on Broadway, a musical version of the 1963 movie Lilies of the Field (1963), playing the part of Homer Smith, the role that brought Sidney Poitier an Oscar. Despite a prestigious production team that included director Joshua Logan, composer Jule Styne and lyricist Sammy Cahn, the show was a flop.
Freeman made his reputation primarily in television. He debuted as a television actor in the series Suspicion (1957) in 1958, and his soap opera debut came in 1967 in The Edge of Night (1956). He was nominated for Primetime Emmy Awards for My Sweet Charlie (1970) and for Roots: The Next Generations (1979), in which he played Malcolm X.
In 1958, Freeman made his movie debut in an uncredited role in the Glenn Ford WWII picture _Torpedo Run (1958)_ and first received billing in the 1960 gang war B-movie potboiler This Rebel Breed (1960). His most memorable role was the lead in Amiri Baraka's Dutchman (1966) opposite Shirley Knight, who was named Best Actress at the 1967 Venice Film Festival. Freeman won the N.A.A.C.P. Image Award for Outstanding Supporting Actor in a Motion Picture for playing Nation of Islam leader Elijah Muhammad in Spike Lee's Malcolm X (1992).
Freeman was a professor in the drama department of Howard University. When he died on August 9, 2012, in Washington, D.C. at the age of 78, he had established himself as a legend in the African American arts community.- 15-time All-Star Al Kaline of the Detroit Tigers was one of the premier baseball players of his generation, slugging 399 home-runs and amassing 3,007 hits in those less-statistics crazy times. (In this era, Kaline -- who announced his retirement before his final season of 1974 and stuck to it -- would have come back for another season to hit homer #400, one of the great benchmarks of that time, before steroids and human growth hormone made nonsense to the baseball power-hitting records in the late 1990s.) The winner of 10-gold gloves for fielding excellence, Kaline was greatly respected as an all-around star player with all the tools, like his contemporary Carl Yastrzemski of the Boston Red Sox, who became the first American League Player to hit 400 dingers and 3,000 hits in 1979.
Kaline, who had the desire to excel at baseball, did not have the desire to upstage Yaz by pointing out that it was something he easily could have done, and was gracious when the Red Sox left fielder set the milestones in 1979. Perhaps Kaline could afford to be generous, for unlike Yaz, who was perpetually a bridesmaid and never a bride when it came to the post-season (Yaz's BoSox even lost the A.L. East pennant to Kaline and Billy Martin's Tigers by Tigers won the 1968 World's Championship. Distinct underdogs to the the same St. Louis Cardinals team, and post-season marvel Bob Gibson, who had beaten Yaz's "Impssible Dream" BoSox the year before and had whipped the last team of the great Yankees Dynasty, the '64 Bronx Bombers of Mickey Mantle, Roger Maris, Yogi Berra, Elston Howard and Whitey Ford, the Tigers made history by staging one of the great upsets in World Series history. The '68 battle royal for the World's Championship was almost as good, and legendary, as the '67 Series, and like the previous match-up of the Cards and the American League contender, it had gone done to the seventh and deciding game. Though the Cardinals were mighty, it was the Tigers behind the pitching of donut-maven Mickey Lolich who prevailed. Al hit .379 with two homers and eight runs batted in during the Series, further establishing his credentials as a first-ballot Hall of Famer.
Al Kaline had been signed as a "Bonus Baby" by the Tigers in 1953, and under the extant rules of Major League Baseball, had gone straight to the major league team, bypassing the minor leagues. (To justify the bonus, or rather, to limit the payout of large bonuses, MLB required teams signing young players to large bonuses to keep them on the major league roster for part of the year, every year, or lose them.) The 18-year old Kaline came up for a cup of coffee with the Tigers in 1953, and then played a total of 22 seasons for them, a record only surpassed by Yaz for the Red Sox and Brooks Robinson for the Baltimore Orioles, who in those pre-free-agent times, played a total of 23 years for the same team. Kaline blossomed early, winning his first and only batting title in 1955, at the tender age of 20, leading both leagues with a .340 average. Kaline became the youngest player ever to win a batting title, establishing that record by nosing out fellow Tiger Ty Cobb by one day.
Although he never won a Most Valuable Player Award, Kaline ranked in the Top 10 in M.V.P. votes nine times between 1955 and 1967, coming in second in '55 and '63 and third in '56. Never a true power hitter, he was remarkably consistent and steady in his production, hitting a minimum of 25 homers seven times and hitting over .300 nine times, playing primarily in what is becoming known as baseball's second "Dead Ball Era". His superb fielding was a marvel, and he once went 242 consecutive games in the field without committing an error. Kaline was the type of player a general manager dreams of building a franchise around.
Fittingly, Al Kaline was known as "Mr. Tiger" when he retired after the 1974 season. Kaline was the most popular player in the Detroit franchise's history (the dyspeptic Cobb was a greater player and highly respected by Tigers fans, but not particularly beloved). After his election to the Baseball Hall of Fame in Cooperstown, New York in his first year of eligibility, his number 6 was the first number ever to be retired by the Tigers. - Writer
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Alain Corneau was a Cesar Award-winning French writer-director best known for his multiple collaborations with French cinema superstars Yves Montand, Simone Signoret and Gérard Depardieu. Born on August 7, 1943 in Meung-sur-Loire, Loiret, Corneay trained as a musician but switched his interest to film, becoming an assistant director.
He was an assistant director on Costa-Gavras's 1970 film The Confession (1970) ("The Confession"), which co-starred Montand and Signoret. In 1974 he made the transition to the director's chair, helming France, Incorporated (1974), a movie about drug dealers. His next policier starred Montand as a a Dirty Harry-like dick in Police Python 357 (1976) (1976), which co-starred Montand's wife Signoret. He followed it up with another crime drama starring Montand, La Menace (1977) (1977). Corneau finished up his crime cycle with Choice of Arms (1981) (1981), which starred Montand, Depardieu and Catherine Deneuve. The movie was released in the United States as "Choice of Arms."
Shifting gears away from policiers, he directed the French Foreign Legion drama 'Fort Saganne (1984)' (1984). Set in 1911, the movie starred Depardieu and Deneuve. Depardieu also headlined his lush costume drama _Tous les matins du monde (1991)- (1991), an international hit, for which Corneau won the Cesar Award, the French equivalent of the Oscar, for direction.
At the age of 67, Alain Corneau died on August 30, 2010 in Paris from cancer. His remains were interred at Père Lachaise Cemetery.- Writer
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Alan Bennett is an award-winning dramatist and screenwriter who is best known as a member of Beyond the Fringe (1964) (a satirical review that was a hit on both the London stage and on Broadway and featured fellow members Peter Cook, Jonathan Miller and Dudley Moore) and for his plays The Madness of King George (1994) and The History Boys (2006). Bennett and Miller also collaborated on the TV sketch show On the Margin (1966).
In 1995, Bennett was nominated for an Academy Award for his adaptation of his own play "The Madness of King George." He has declined a knighthood and an honorary doctorate from Oxford University.- Actor
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Alan Mowbray, the American film actor who was one of the founding members of the Screen Actors Guild, was born Ernest Allen on August 18, 1896, in London, England, to a non-theatrical family. He served in the British army during World War I and received the Military Medal and the French Croix De Guerre for bravery in action. He began as a stage actor in England, and in some accounts he gave of his life, claimed he was a provincial actor in England before his naval service. In other versions, he claimed he turned to acting after The Great War, as World War I was then known, as he was broke and had no other skills.
After acting in London's West End, Mowbray came to the United States, where he toured the country with the Theater Guild from 1923 to 1929. On the road with the Guild, he most enjoyed acting in the plays of Noël Coward and George Bernard Shaw. He made his Broadway debut in the play "Sport of Kings" at the Lyceum Theatre on May 4, 1926. He also appeared on Broadway in "These Modern Women" in February 1928 and in "The Amorous Antic" in December 1929.
On August 25, 1929, Mowbray's own play, "Dinner is Served," an original comedy he wrote, directed and starred in, made its debut at the Cort Theatre. The play was not a success, closing after just four performances. After "The Amorous Antic," Mowbray did not appear again on Broadway until 1963, when he was featured in "Enter Laughing," the hit stage adaptation of Carl Reiner's novel.
His relative lack of success on Broadway during the "Roaring Twenties" did not matter, as sound had come to Hollywood and the studios were looking for stage actors who could appear in the talkies. Blessed with excellent diction, and tall with a stiff posture and a patrician air, he was ideal for character parts in sound pictures. A member of the "stiff-upper lip" school of British acting, he was often cast as a British, European or upper-class American gentleman, or as an aristocrat or royalty. As he aged, roles as doctors or butlers were his forte.
Mowbray was praised by the critics for limning George Washington in the 1931 biopic Alexander Hamilton (1931) (he would once again play the Father of His Country, this time in a comic vein, in the 1945 musical Where Do We Go from Here? (1945)). He had a romantic lead role opposite Miriam Hopkins in Pioneer Films' Becky Sharp (1935), which was the first feature film made in three-strip Technicolor.
Mowbray had the distinction of appearing in movies with three screen Sherlock Holmeses: Clive Brook in Sherlock Holmes (1932), Reginald Owen in A Study in Scarlet (1933) and Basil Rathbone in Terror by Night (1946). He played the butler in the first two "Topper" films, and as a character actor had memorable turns in two John Ford pictures, My Darling Clementine (1946) and Wagon Master (1950). In the area of typecasting, Mowbray could be counted on as a "pompous blowhard" in such movies as My Man Godfrey (1936), or as "the surprise killer" in B-movie murder mysteries. One of his favorite roles was the con man in the television series Colonel Humphrey Flack (1953), which ran on the Dumont network in 1953.
Mowbray occasionally was a screenwriter, but mostly concentrated on acting. In his personal life he was a member of the Royal Geographic Society and was active in several acting fraternities. He also was one of the founding members of the Screen Actors Guild. The Guild was formed in 1933, in the wake of the formation of the Screen Writers Guild, in reaction to a proposed 50% across-the-board pay cut implemented by the studios.
Actors Equity, the theatrical actors union, had tried to organize Hollywood after winning a contract and a closed shop on Broadway after World War I, but it had failed. Screen actors angered over the lack of contracts and the grueling work hours at the Hollywood studios founded the Masquers club in 1925 in a move towards unionization. After studio technicians won a collective bargaining agreement from the studios in 1926, MGM studio chief Louis B. Mayer had the idea of heading off collective bargaining by the "talent" branches--the actors, writers and directors--by creating a company union. The Academy of Motion Picture Arts & Sciences was created to serve as an intermediary between the studios and the talent branches and technicians, negotiating contract disputes. Proto-unions, such as the original Screen Writers Guild, folded in 1927 after the creation of the Academy.
By the announcement of the across-the-board cut in 1933, two previous rounds of cutbacks and lay-offs caused by the Great Depression had alienated most of the talent in Hollywood and had led to a strike by the technicians which had closed down the studios for a day. Losing faith in the company union that was the Academy, the talent began organizing their own guilds. In addition to the lack of contracts for many actors and the concerns over wages and hours, one of the new Screen Actors Guild's grievances was that Academy membership was by invitation-only.
In March 1933, SAG was founded by six actors: Berton Churchill, Charles B. Miller, Grant Mitchell, Ralph Morgan, Alden Gay and Kenneth Thomson. Three months later Mowbray was named to SAG's board of directors. He personally funded SAG when it was first founded. While many high-profile actors, already signed to seven-year contracts, refused initially to join SAG, they began to flock to the new union once the studios initiated an anti-raiding provision in the new National Industrial Relations Act code the industry had implemented after Franklin D. Roosevelt became US President and oversaw the enactment of his New Deal legislation in the first 100 days of his administration.
The NRA code the movie industry adopted created a situation for the talent similar to baseball's reserve clause, in which another studio was prevented from offering a contract to an actor, writer or director whose contract had lapsed until their old studio had finished with them and not picked up their option. The NRA code contained a pay ceiling for the talent and technicians, but not for executives. The talent was further enraged when it found out that the Academy, the "company union," had created a committee to investigate the feasibility of long-term contracts. Long-term contracts were the only island of stability in an industry that enhanced its profitability by cutting the wages of its employees and by working them long hours.
At a pivotal meeting at the home of Frank Morgan (the future "Wizard of Oz" and the brother of first SAG president Ralph Morgan), Eddie Cantor insisted that SAG's response to the new code--a collective bargaining agreement--should be in the interests of all actors, not just the already established ones. In the three weeks after the critical meeting, SAG membership rose from approximately 80 members to more than 4,000. Actors resigned from the Academy en masse to join SAG.
Cantor, a friend of President Roosevelt, took the occasion of his being invited to spend the 1933 Thanksgiving holiday with the Roosevelt family to point out the inequities in the new code that SAG found particularly noxious. By executive order, F.D.R. struck them down.
Finally, in 1937, after a long period of resistance, the studios recognized SAG as a collective bargaining agent for actors. Recognition of the Screen Writers Guild and the Screen Directors Guild eventually followed. Mowbray's financial support, in the crucial early days of the guild, had helped make a collective bargaining agreement for actors a reality.
Alan Mowbray married Lorayne Carpenter in 1927, and they had two children. He died on March 25, 1969, of a heart attack.- Alan Shepherd was the first American in space and the only one of the original Mercury astronauts to walk on the moon. Born in Derry, New Hampshire on November 18, 1923, he attended the U.S. Naval Academy after graduating from the Pinkerton Academy in 1940. After his graduation from Annapolis in 1944, he served in the Pacific Ocean during the rest of World War II.
After the war, he earned his naval aviator wings in 1947 and served several tours aboard aircraft carriers in the Mediterranean. He became a test pilot in 1950 and served as an instructor in the Test Pilot School. Upon graduating from the Naval War College with an M.S. degree in military science in 1958, he was was assigned to be a staff office with the Commander-in-Chief of the Atlantic Fleet, serving as an aircraft readiness officer.
A year later, he became one of 11 military test pilots invited by the NASA to try out for the manned space flight program. By that time, he had logged over 8,000 hours flying time. He passed the physical and psychological tests and became one of the original group of seven Mercury astronauts.
Shepherd should have been the first man in space, but NASA postponed his flight from March 6, 1961 to May 5th. This allowed the Soviet Union the opportunity to put cosmonaut Yuri Gagarin into space on April 12, 1961. As well as being the first human being in space, Gagarin also became the first person to orbit the Earth; Shepherd's flight on Freedom 7 on May 5th was a sub-orbital mission.
In 1963, Shepherd subsequently was chosen as the command pilot for the first manned Project Gemini mission and was designated as the chief of the Astronaut Office, overseeing all activities involving NASA astronauts, including training. In early 1964, he was grounded after he developed Ménière's disease. The disease is marked by the build-up of fluid in the inner-ear and causes disorientation and dizziness. His spot in Project Gemini was given to Gus Grissom.
After undergoing an innovative surgery to treat his Ménière's disease, he was put back on flight status in Mary 1969. Originally assigned to command the ill-fated Apollo 13 (1995), he swapped missions with the Apollo 14 crew as as it was felt he and his crew needed more time to train. When he made the Apollo 14 flight to the moon between January 31 and February 9, 1971, the 47-year-old Shepard was the oldest astronaut in the NASA space program.
The Apollo 14 mission was the first moon mission broadcast entirely in color, and part of the broadcast was Shepherd golfing on the moon, using a Wilson six-iron head attached to a lunar sample scoop handle. He managed to drive two golf balls with a one-handed swing. He was criticized by some for his playful action, including on an episode of All in the Family (1971).
Shepard was reinstated as Chief of the Astronaut Office in June 1971 but the following month, President Richard Nixon appointed him as a delegate to the United Nations General Assembly, where he served from September to December. Nixon also promoted him to the rank of rear admiral that year. He retired from the Navy and NASA on August 1, 1974 and went on to a successful business career, allegedly becoming the first astronaut to become a millionaire.
Alan Shepherd lived out the end of his life in Pebble Beach, California. He died of leukemia in a Monterey hospital on July 21, 1998. He was 74 years old. - Albert Anastasia was born February 26, 1903, in Calabria, Italy, famous for its hams and the 'ndrangheta, which was every bit as vicious as the Sicilian Mafia. He was brought to America as a child along with his eight brothers. When he was starting in organized crime, he helped Salvatore Lucania, who later became known as Lucky Luciano, murder Giuseppe Masseria (aka "Joe The Boss" or "The Chinese"). When the "Boss of Bosses", Salvatore Maranzano, was murdered by Luciano, La Cosa Nostra was divided into different families known as The Commission. The bosses of the family Anastasia belonged to were brothers Vincent Mangano and Philip Mangano.
It wasn't long before Anastasia started to lust for power. As the underboss, he and Vincent Mangano often fought physically. Anastasia, being younger, would usually win. Anastasia's old friend and boss of the Luciano family, Frank Costello, soon found himself in a pickle when his partner, Vito Genovese, returned from Italy after nine years' exile. Costello needed Anastasia's help but couldn't do a thing unless he had an entire family behind him. Costello and Anastasia soon came up with the idea of killing the Manganos. On April 19, 1951, one of the most mysterious murders in Mafia history occurred. The body of Phil Mangano was found in a marshland with three bullets in the back of his head and two in each cheek. When the police tried to contact his brother, they couldn't reach him. When Vincent didn't show up at his brother's funeral, the police and Mafia bosses assumed that Vincent had been murdered as well. Frank Costello stuck up for Anastasia when the families had a sit-down to discuss the murder, saying that the Manganos were planning to kill him. Anastasia was now the boss of the former Mangano family.
After he became the boss, he and his younger brother, Anthony Anastasia (aka "Tough Tony") - who changed his last name to Anastasio, most likely in order to avoid public connections with his brother--ran the Brooklyn waterfronts for over a decade. When Lucky Luciano was arrested, Albert and his brother Tony sabotaged a huge French ocean liner moored at a pier and spread the word that it had been done by Nazi saboteurs. They then made a deal with the US government that they would "protect" the waterfront from further "sabotage" in exchange for Luciano's release. A compromise was reached in which Luciano was sent to a minimum-security prison. Under Luciano's order, Anastasia became the head of the Mafia's enforcement arm, known as Murder Inc. This group of killers was responsible for an estimated 700 to 1000 murders, the large number of killings attributed to Anastasia's hot temper and love of violence. When he saw an interview with a New York shop owner named Arnold Schuster, who had recognized notorious bank robber Willie Sutton on the street and notified the police, who then arrested Sutton, Anastasia immediately ordered that Schuster be killed; he had no connection with Sutton, but his reasoning for ordering Schuster's murder what that "I don't like rats".
Schuster's death enraged the public as well as the other Mafia bosses. A few years later Luciano was deported to Italy, and the Italian government then exiled him to Sicily where, during WW II, he and the local Mafia ingratiated themselves with US forces after the invasion of Sicily by identifying and helping capture "fascists" and "fascist sympathizers" (most of whom, strangely enough, turned out to be Luciano's competitors in his various criminal enterprises).
When Luciano left, Genovese wanted more and more power, but Frank Costello, Albert Anastasia and Anastasia's underboss Frank Scalise ran things. Genovese was growing irritated with Albert because of the many murders committed by Albert's crew, which Genovese considered unjustified and which went against the Mafia's laws. Albert was also selling memberships for his family for a few thousand dollars apiece. Genovese hired future boss Vincent Gigante (aka "The Chin") to kill Costello. In 1957 Costello was shot in the head by Gigante, but Costello's phenomenal luck held and he was only grazed by the bullet. However, the assassination attempt persuaded him to semi-retire from his life of crime. By tradition, an underboss was murdered before the boss, in order to prevent retaliation. Anastasia's strongest ally, Joe Adonis, was suddenly deported to Italy. His underboss, Frank Scalise, was murdered not long afterwards when he went out to buy some fruit.
One of Anastasia's capos, Carlo Gambino, who later became the most powerful Mafia boss in US history, was secretly meeting with Vito Genovese to discuss the planned killing of Anastasia. Genovese promised that Gambino would be named the boss of the family if he killed Anastasia. Carlo could not refuse. Anastasia was about the same age, so by the time Carlo became boss, he wouldn't have much longer to live. Gambino consulted Joe Profaci, another Mafia boss, and the two hired the Gallo brothers, including the infamous Joe Gallo (aka "Crazy Joe"), to kill Anastasia. Anastasia's favorite barber shop was on the bottom floor of the famous Park Sheraton Hotel. He loved getting his beard trimmed and the feel of the towel on his face. When the barber put the towel on Albert's face, two of the three Gallo brothers rushed in and fired five shots into Anastasia, blasting him out of the barber's chair. The New York criminal and law enforcement communities were relieved that "The Lord High Executioner" had been taken out. Some people, however, were not so happy about it, and one of the most troubled was future boss John Gotti. Albert had been his role model and, at the time, his one hope of getting in the family. Albert's brother Tough Tony continued to control the waterfronts after Albert's death. - Oscar-nominated screenwriter Albert Maltz was born on October 28, 1908 in Brooklyn, New York. After graduating from Columbia University in 1930, he attended the Yale School of Drama for two years as a tyro playwright. After striking out on his own as a dramatist, he developed sociopolitical plays which were destined to be produced by the left-wing theatrical companies the Theatre Union and the Group Theatre. He also wrote novels and short stories. In 1935, during the Great Depression, he joined the Communist Party.
Maltz labored as a screenwriter for Warner Bros., which had made its reputation in the 1930s for its socially aware dramas. He worked on the classic Casablanca (1942) and other feature films and documentaries during World War II. He wrote the Oscar-winning documentary The House I Live In (1945), a plea for racial tolerance, and was nominated for an Oscar for writing Pride of the Marines (1945).
Maltz wrote an article in 1945 for the "New Masses" that demanded more intellectual freedom from the Communist Party for its members. Pressure from the Party made him recant his position, which had a chilling effect on some other Party members and liberal supporters of the Party's right to exist.
In 1947, Maltz and other Party members (and suspected Party members and sympathizers) were called before the House Un-American Activities Committee (HUAC) which had determined to investigate "communist infiltration" of the movie industry. Maltz and nine others were cited for contempt of Congress for their uncooperative behavior before the Committee, which included not "naming names" of other communists, and were dubbed the "Hollywood 10". All were fined and jailed, and they were also blacklisted by the American film industry.
Remaining a committed communist, Maltz continued to write, using "fronts" who sold his screenplays and received any writing credit alloted by the studios and WGA. He remained unrepentant about his progressive politics until the end, which came on August 26, 1985 when he died in Los Angeles at the age of 76. - Alec McCowen was born Alexander Duncan McCowan on May 26, 1925 in Tunbridge Wells, England. After studying at the Royal Academy of Dramatic Art, he made his professional debut in 1942. He established his reputation in classical stage roles, appearing in the ensemble of Laurence Olivier's famed duo-production of William Shakespeare's "Anthony and Cleopatra" and George Bernard Shaw's "Caesar and Cleopatra" at the 1951 Festival of Britain. McCowen transferred with the productions to New York that same year, making his Broadway debut.
McCowen made his movie debut in The Cruel Sea (1953), but for his turn as Police Inspector Oxford in Alfred Hitchcock's Frenzy (1972), his reputation is rooted in his stage work. "Frenzy" led to his one lead role in a major motion picture, that of Henry Pulling in George Cukor's adaptation of 'Graham Greene's Travels with My Aunt (1972). Though the film won an Oscar for Costume Design and a Best Actress nod for co-star Maggie Smith (among its total of four nominations), the movie did not advance McCowen's career. Over a decade later, he played the title role in the Thames Television series Mr. Palfrey of Westminster (1984), which ran for two seasons on British television from 1984 to 1985. His last cinema appearance was in a small role in Gangs of New York (2002) for director Martin Scorsese; he had earlier appeared in Scorsese's The Age of Innocence (1993).
Though his services were in demand in movies and on television, McCowen remained wedded to the stage; he regards the character of "Astrov" in Anton Chekhov's "Uncle Vanya" as his favorite role. From 1967 to 1992, McCowen appeared nine times on Broadway, for which he garnered two Drama Desk Awards (out of four nominations) and three Tony Award nominations. One of his Tony Award nominations was for his magisterial solo performance in "St. Mark's Gospel", which debuted on Broadway in 1978 and had a return engagement on the Great White Way in 1981.
He was appointed Officer of the Order of the British Empire (OBE) in the 1972 Queen's New Years Honours and Commander of the Order of the British Empire (CBE) in the 1986 Queen's New Years Honours for his services to drama. Alec McCowan died at age 91 on February 6, 2017 in London, England. - Actor
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Alfred Ryder, the veteran actor who appeared on radio and Broadway and in the movies and TV and who also was a renowned stage director, was born Alfred Jacob Corn on January 5, 1916, in New York City. He made his professional debut as an actor at the age of eight and attended New York City's Professional Children's School. His Broadway debut came in 1929, when the 13-year-old Ryder played a "lost boy" in Eva Le Gallienne's production of J.M. Barrie's "Peter Pan". Ryder studied acting with Benno Schneider, Robert Lewis and Lee Strasberg. He appeared in the 1938 Broadway production of "Our Town" - his Broadway debut as an adult performer - as well as numerous Broadway productions before World War II, including the 1939 revival of Clifford Odets's "Awake and Sing!". For many years he was the voice of Sammy in the radio serial "Rise of the Goldbergs" Ryder joined the Army Air Force during World War II, eventually appearing in the U.S. Army Air Force's gala Broadway stage show "Winged Victory" in 1943. The following year, he made his movie debut as "PFC Alfred Ryder" in the film version of the show Winged Victory (1944)). After the war he made more films, including director Anthony Mann's classic 1947 film noir T-Men (1947). On Broadway, he appeared as Oswald in the 1948 revival of Henrik Ibsen's "Ghosts" and as Mark Antony in the 1950 production of "Julius Caesar". Also that year, he appeared as Orestes in the Broadway play "The Tower Beyond Tragedy".
Ryder had the singular honor of being cast as the understudy for Laurence Olivier in one of the legendary actor's greatest roles, that of Archie Rice, in the 1958 Broadway production of John Osborne's "The Entertainer". Olivier's Archie Rice is considered one of the greatest performances of the 20th century, and Ryder was chosen to keep the Broadway patrons in their seats in the event the great British theatrical knight couldn't go on. Ryder also appeared in the original Broadway production of Eugène Ionesco's absurdist masterpiece "Rhinoceros" in 1960.
A noted theatrical stage director with such companies as Washington, D.C.'s Arena Stage, Ryder made his Broadway directorial debut with the play "A Far Country" in 1961. He subsequently directed two more Broadway productions, "The Exercise" in 1968 and the 1971 revival of August Strindberg's "Dance of Death."
Despite his achievements on the stage, film and radio, Ryder is mostly remembered as a prolific and versatile TV character actor. He made over 100 appearances on TV, including memorable turns on Star Trek (1966) (he appeared as Prof. Robert Crater in the series' very first aired episode, "The Man Trap"), Voyage to the Bottom of the Sea (1964) (two appearances as the ghost of Nazi U-boat commander Capt. Gerhardt Krueger), and The Invaders (1967) (appearing as The Alien Leader). Ryder retired from screen acting in 1976 to concentrate on the stage, both as an actor and director. He died on April 16, 1995 in Englewood, NJ, at the age of 79. He was married to actress Kim Stanley, with whom he had a child, from 1957 until 1964, and he was the brother of actress Olive Deering.- Having worked as a telephone operator at age 13 and a fashion model afterwards, Alice Joyce joined the Kalem film company at 20, making her debut in The Deacon's Daughter (1910), and achieved popularity as a charming, proper leading lady in many shorts. After Vitagraph bought out Kalem, Joyce began appearing in the company's features, and her career soared. She was so popular as an ingénue that she was still playing those parts into her late 20s, but eventually she switched to older, more mature roles. She played Clara Bow's mother in Bow's wildly popular film Dancing Mothers (1926). After retiring from the screen, she married director Clarence Brown.
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Louis Ginsberg, the moderate Jewish Socialist and his wife Naomi, who was a radical Communist and irrepressible nudist are the parents of Irwin Allen Ginsberg, the poet and man of many other things eg. actor. Poems he written eg. Howl, Six gallery, Sunflower Sutra ... His themes: drugs, against Vietnam War, politics, "beat generation", hippies, buddhism, ... In 1970 he met with a Tibetan guru and he accepted Trungpa Rinpoche as his personal guru. He created a poetry school 'Jack Kerouac School of Disembodied Poetics'. He has remained active, publishing poems, realising musical recordings. He published a book with his own photos.- Anatole France, the 1921 Nobel laureate for literature, was born Jacques Anatole Thibault in Paris on April 16, 1844, the son of a Paris book dealer. He attended the Parisian boys' school Collège Stanislas, where he received a classical education, and later matriculated at the École des Chartes. For 20 years after finishing his education, he worked at various positions, including the post of assistant librarian of the French Senate from 1876 to 1890, before devoting himself full-time to writing. He was able to write even when he worked, and in his life-time in which he became the premier French man of letters, he produced a vast output of novels, as well as works in every genre. A story-teller in the French classical style, his literary precursors were Voltaire and Fénélon. His urbane skepticism and enlightened hedonism were in the spirit and tradition of the French enlightenment of the 18th century. His epicurean philosophy was limned in his 1895 book of aphorisms, "The Garden of Epicurus."
France's first great success was the novel "Le Crime de Sylvestre Bonnard (1881), which was honored by the Académie Française. France later became a member of the Académie in 1896. He published an autobiographical novel in 1885, "Le Livre de mon ami" ["My Friend's Book"], which he followed up with "Pierre Nozière" (1899), "Le Petit Pierre" (1918), and "La Vie au fleur" (1922) ["The Bloom of Life"].
France was the literary critic on the "Le Temps" newspaper, and his reviews were published in a four-volume collection entitled "La Vie littéraire" [On Life and Letters] between 1888 and 1892. It was in this period that France wrote historical fiction about past civilizations, focusing particularly on the transition from paganism to Christianity. He published "Balthazar" (1889), a story of the conversion of one of the Magi, and "Thaïs" (1890), about the conversion of an Alexandrian courtesan. In 1891, he published "L'Étui de nacre" ["Mother of Pearl"], the story of a hermit and a faun. It was during this period that the classicist France reacted strongly against Emile Zola's naturalism.
Approximately half of France's output appeared in periodicals and newspapers. The style of his novels was rooted in elegance and a subtle irony. "La Rôtisserie de la Reine Pédauque" ["At the Sign of the Reine Pédauque], a historical novel about life in 18th century France, was published in 1893. It proved to be the most celebrated of France's novels; that same year, he used the central character of the novel, the Abbé Coignard, in "Les Opinions de Jérôme Coignard." The Abbé again appeared in "Le Puits de Sainte Claire" ["The Well of Saint Claire"], a collection of stories published in 1895.
With "Le Lys rouge" ["The Red Lily"], a tragic love story published in 1894, France returned to contemporary fiction. In 1896, he began a cycle of prose works focused on the character of Professor Bergeret, one of his most famous literary creations, in the "Histoire contemporaine," published between 1896 and 1901.
He protested the unjust conviction of Captain Alfed Dreyfuss for treason and the anti-semitism of the French establishment that permitted his persecution, and developed an empathy for socialism. After the Dreyfus Affair, in which he came out in support of Zola, Dreyfus' great champion, France's work became more engaged socially and slanted increasingly towards political satire. In 1908, he published a satire about the Dreyfus Affair, "L'Île des pingouins" ["Penguin Island"]. Also that year, his biography of Joan of Arc was published. His other major works of his later period include "Les Dieux ont soif (1912) ["The Gods are Athirst"], a novel about the French Revolution, and "La Révolte des anges" (1914) ["The Revolt of the Angels].
Anatole France was awarded the Nobel Prize for Literature in 1921, "in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament." In the presentation Speech by E.A. Karlfeldt, Permanent Secretary of the Swedish Academy, the author of historical novels about the transition from paganism to Christianity was praised for limning "a faith purified by healthy doubts, by the spirit of clarity, a new humanism, a new Renaissance, a new Reformation."
Karlfeldt would go on to praise rance as "the faithful servant of truth and beauty, the heir of humanism, of the lineage of Rabelais, Montaigne, Voltaire, [and ]Renan," but first, he would honor him as embodying the best of French civilization and letters:
"Sweden cannot forget the debt which, like the rest of the civilized world, she owes to French civilization," Karlfeldt said. "Formerly we received in abundance the gifts of French Classicism like the ripe and delicate fruits of antiquity. Without them, where would we be? This is what we must ask ourselves today. In our time Anatole France has been the most authoritative representative of that civilization; he is the last of the great classicists. He has even been called the last European. And indeed, in an era in which chauvinism, the most criminal and stupid of ideologies, wants to use the ruins of the great destruction for the building of new walls to prevent free intellectual exchange between peoples, his clear and beautiful voice is raised higher than that of others, exhorting people to understand that they need one another. Witty, brilliant, generous, this knight without fear is the best champion in the sublime and incessant war which civilization has declared against barbarism. He is a marshal of the France of the glorious era in which Corneille and Racine created their heroes.
France used the occasion to himself honor the Nobel Peace Prize Laureate, the Swedish Prime Minister Karl Hjalmar Branting, a diplomat who worked for disarmament and helped draft the Geneva Protocol, a proposed international security system mandating arbitration between belligerent nations. France also denounced the Versailles Treaty as being unjust and a continuation of the Great War and called for the instillation of common sense among diplomats lest Europe meet its doom. After France received his Prize from the King of Sweden, after all the laureates had again ascended the rostrum, France turned to Professor Walther Nernst, the German Nobel laureate for chemistry, and shook his hand cordially for an extended time. The gesture profoundly moved the crowd as the symbolism of the meeting of the heart (literature) and the head (science) and of two nations so recently engaged in waging a ruinous war against each other was not missed. The audience applauded the gesture as a symbol of reconciliation between France, the nation, and Germany.
Anatole France's writings were put on the Index of Forbidden Books of the Roman Catholic Church in the 1920s. Between 1925 and 1935, France's collected works were published in 25 volumes.
Anatole France died on October 12, 1924 in Tours, Indre-et-Loire, France and was buried in the Ancient Cemetery of Neuilly, Hauts-de-Seine. - Director
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Andre Roosevelt was an entrepreneur and filmmaker who tried to develop the tourist industry in Bali in the 1920s in order to preserve the native culture by turning the island into a national park. As part of his aspirations, he wrote the screenplay for the 1932 film "Goona-Goona, An Authentic Melodrama" (aka Kriss (1931)) that, upon being released in America in 1932, created a Bali craze.
Andre was the first cousin, once-removed, of US President Theodore Roosevelt; his father Cornelius was related to Teddy. After marrying a French actress, Cornelius was living in Paris when Andre was born in 1879. He was first involved with the movies in 1917, when he served as a production manager on director Wesley Ruggles's WWI propaganda picture For France (1917) for Vitagraph Films.
"Goona Goona" was made with Armand Denis, a Belgian documentary filmmaker. The two began shooting footage of Bali on a trip there in 1928. The film combined documentary footage with a fictional romantic story about the love between a native prince and a servant.- Ann Jellicoe was born on the 15th of July 1927 in Middlesbrough, North Yorkshire and studied acting at London's Central School of Speech and Drama. She had wanted to be an actress since the age of four, when she took a dancing class. She fell in love with performance and was engaged in theatricals during her school days.
Ann Jellicoe is an English playwright and theatrical director who's best known for her 1962 play "The Knack", which was adapted into the 1965 film The Knack... and How to Get It (1965) by director Richard Lester, and for promoting the idea of "community plays".
Her first tentative efforts at writing were creating dialogue in her head for charades. At the Central School of Speech and Drama, a class in improvisation whetted her appetite for making up dialogue. She also was exposed to the dramatist Christopher Fry, who was invited in the school to talk to the students about playwriting.
After she graduated from the Central School, she did her apprenticeship as a thespian in a repertory theatre in Aberystwyth,Wales. She was a plain girl in a time when young actresses were expected to be good-looking and were not allowed to be interesting, before the impact of Bertolt Brecht and the Berliner Ensemble on English theatre, a revolution she would be part of. It was friends who got her her first job at Aberystwyth, and after that was over, she bounced around between acting gigs and tried her hand at directing. She also taught acting.
Jellicoe established and ran the experimental Cockpit Theatre at the Little Theatre Club. She began her career as a dramatist with a one-act play written to implement her own innovative ideas of the theatre that was included in a showcase she was directing. Her breakthrough was the play "The Sport of My Mad Mother", written for a 1955 competition for aspiring playwrights sponsored by "The Observer" newspaper, overseen by critic Kenneth Tynan. The play, which used absurdist dialogue and physical theater to tell the story of juvenile delinquents, won third prize . The initial production was staged by the English Stage Company at the Royal Court Theatre. Company founder George Devine directed the play.
Tasking himself with the mission of creating a new type of theater that broke with the class-bound complacency of the commercial West End theater, Devine also directed John Osborne's Look Back in Anger (1959) in 1956, the play that heralded the arrival of "The Angry Young Man" who forever changed English theater. Eschewing plot, Jellicoe's drama embraced absurdity and unconventional theatrical devices. In contrast, "Look Back in Anger", which started the revolution in the London theater, was conventional in plot and dialog. Jellicoe's technique sought to involve the audience more directly.
"The Sport of My Mad Mother" was a commercial flop in its initial run, and it also failed to win over the critics. This was not seen as a bad thing by Devine and others at the Royal Court, as they were in a war against conventional theater whose foot-soldiers were stodgy Establishment critics.
Working with Devine at the Royal Court was a great experience for Jellicoe as Devine loved writers, believing that it was writers who would change the English theater. In 1955, he had declared the English Stage Company to be a "writer's theatre". There was a writers group at the Royal Court that influenced the development of her drama. She even met her second husband, the photographer Roger Mayne, at the Royal Court.
The sole woman member of the Royal Court's Writers Workshop, she continued to write, earning a reputation as someone who knew about the younger generation as her plays focused on young people. "The Sport of My Mad Mother" was re-staged many times and was revised by the author in 1962 That was the year she had her greatest success, when the Royal Court staged her play "The Knack" starring Rita Tushingham, who also would star in the 1965 film.
Jellicoe had decided to write a sex comedy after the discouraging reception of her first play. Developed under the aegis of the Royal Court's writers group, "The Knack" is autobiographical, with her second husband Roger, whom she lived with for a while before marriage, being the mode for the character of Colin. "The Knack", directed by Mike Nichols, was a hit when it was staged Off-Broadway in New York in 1964, running for 685 performances.
Jellicoe never had another huge success like "The Knack", for instead of following it up with a similar work, the Royal Court stated her play "The Rising Generation", which had been written before the "Knack" for the Girl Guides, who had wanted a play about teenagers, and "Shelley", an historical play about the Romantic poet Percy Bysshe Shelley. She eventually became literary manager of the Royal Court in the period 1973-5, where she promoted women playwrights, including Caryl Churchill.
She had two children with her husband Roger, and wrote several children's plays, plays about children in which children would act the parts, as part of an evolution as dramatist that was as a result of raising her own kids. She wrote the first of children's plays (known as Jellieplays) in Dorset, where they had moved in the early '70s to get away from the decay of London which accelerated under 'Edward Heath''s ministry. The first children's play was written for a small comprehensive school, but the teacher who normally staged plays with the schoolchildren felt threatened, and the school backed out of putting on the play. Through her involvement with South West Arts' Drama Committee, she had become acquainted with the Medium Fair Theatre Company, which put on community plays. (It has since disbanded.) She approached Medium Fair and they staged her first children's play.
It involved a cast of 80, including children from the school that had originally rejected it (the teacher who had stymied the production had moved on). In this iteration of a community play, it involves many members of a community, not just the cast but the crew and community members who sign on for various jobs like selling refreshments during the intermission.
In 1978, she launched the Colway Theatre Trust, which evolved into the Claque Theatre, to promote the concept of community plays. As the concept evolved, a community play is written about a particular group of people and the issues they face. It is written and staged, employing locals, in no more than 18 months. The Colway/Claque Theatre has produced 30 community plays in all. The community play movement was instrumental in bringing more women into the theater, providing a vehicle for women dramatists. - Actress
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Ann Todd was a beautiful English actress best known as Gregory Peck's wife in Alfred Hitchcock's The Paradine Case (1947). Her third husband was the legendary director David Lean, for whom she appeared in three films, The Passionate Friends (1949), Madeleine (1950), and The Sound Barrier (1952).- Actress
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Anna May Wong, the first Chinese-American movie star, was born Wong Liu Tsong on January 3, 1905, in Los Angeles, California, to laundryman Wong Sam Sing and his wife, Lee Gon Toy. A third-generation American, she managed to have a substantial acting career during a deeply racist time when the taboo against miscegenation meant that Caucasian actresses were cast as "Oriental" women in lead parts opposite Caucasian leading men. Even when the role called for playing opposite a Caucasian in yellowface, as with Paul Muni's as the Chinese peasant Wang Lung in The Good Earth (1937), Wong was rejected, since she did not fit a Caucasian's imagined ideal look for an Asian woman. The discrimination she faced in the domestic industry caused her to go to Europe for work in English and German films. Her name, which she also spelled Wong Lew Song, translates literally as "Frosted Yellow Willows" but has been interpreted as "Second-Daughter Yellow Butterfly." Her family gave her the English-language name Anna May. She was born on Flower Street in downtown Los Angeles in an integrated neighborhood dominated by Irish and Germans, one block from Chinatown, where her father ran the Sam Kee Laundry.
The Wong family moved back to Chinatown two years after Liu Tsong's birth, but in 1910 they uprooted themselves, moving to a nearby Figueroa Street neighborhood where they had Mexican and East European neighbors. There were two steep hills between the Wongs' new home and Chinatown, but as her biographer, Colgate University history professor Graham Russell Gao Hodges, points out, those hills put a psychological as well as physical distance between Liu Tsong and Chinatown. Los Angeles' Chinatown already was teeming with movie shoots when she was a girl. She would haunt the neighborhood nickelodeons, having become enraptured with the early "flickers." Though her traditional father strongly disapproved of his daughter's cinephilia, as it deflected her from scholastic pursuits, there was little he could do about it, as Liu was determined to be an actress. The film industry was in the midst of relocating from the East Coast to the West, and Hollywood was booming. Liu Tsong would haunt movie shoots as she had earlier haunted the nickelodeons. Her favorite stars were Pearl White, of The Perils of Pauline (1914) serial fame, and White's leading man, Crane Wilbur. She was also fond of Ruth Roland.
Educated at a Chinese-language school in Chinatown, she would skip school to watch film shoots in her neighborhood. She made tip money from delivering laundry for her father, which she spent on going to the movies. Her father, if he discovered she had gone to the movies during school hours, would spank her with a bamboo stick. Around the time she was nine years old, she began begging filmmakers for parts, behavior that got her dubbed "C.C.C." for "curious Chinese child."
Liu Tsong's first film role was as an uncredited extra in Metro Pictures' The Red Lantern (1919), starring Alla Nazimova as a Eurasian woman who falls in love with an American missionary. The film included scenes shot in Chinatown. The part was obtained for her by a friend of her father's (without his knowledge) who worked in the movie industry. Retaining the family surname "Wong" and the English-language "Christian" name bestowed on her by her parents, Liu Tsong Americanized herself as "Anna May Wong" for the movie industry, though she would not receive an on-screen credit for another two years.
The rechristened Anna May Wong appeared in bit parts in movies starring Priscilla Dean, Colleen Moore and the Japanese-born Sessue Hayakawa, the first Asian star of American movies. Due to her father's demands, she had an adult guardian at the studio, and would be locked in her dressing room between scenes if she was the only Asian in the cast. Initially balancing school work and her budding film career, she eventually dropped out of Los Angeles High School to pursue acting full time. She was aided by the fact that, though still a teenager, she looked more mature than her real age.
Director Marshall Neilan cast the teenage Anna May in a bit part in his film Dinty (1920), then gave her her first credited role in the "Hop" sequence of Bits of Life (1921), the American movie industry's first anthology film. In "Hop" Wong played Toy Ling, the abused wife of Lon Chaney's character Chin Gow, which the Man of a Thousand Faces played in yellowface. She next appeared in support of John Gilbert in Fox's Shame (1921) before being cast in her first major role at the age of 17, the lead in The Toll of the Sea (1922). She played Lotus Flower in this adaptation of the opera "Madame Butterfly," which moved the action from Japan to China. "The Toll of the Sea" was the first feature film shot entirely in Technicolor's two-strip color process. By appearing top-billed in this romantic melodrama, Anna became the first native-born Asian performer to star in a major Hollywood movie. Most portrayals of Asian women were done by Caucasian actresses in "yellow-face," such as the 1915 Madame Butterfly (1915) starring "America's Sweetheart" Mary Pickford (who was born in Toronto, Canada) in the title role. In "The Toll of the Sea," Anna May's character perpetuates the stereotype of the Asian "lotus blossom," a self-sacrificial woman who surrenders her life for the love of a Caucasian man. The film was a hit, and it showcased Wong in a preternaturally mature and restrained performance. This breakthrough should have launched Anna May Wong as a star, but for one thing: She was Chinese in a country that excluded (by law) Chinese from emigrating to the US, that forbade (by law) Chinese from marrying Caucasians and that generally excluded (by law or otherwise) Chinese from the culture at large, except for bit roles as heavies in the national consciousness.
"The Toll of the Sea" made Anna May Wong a known, and thus a marketable, commodity in Hollywood. She became the #1 actress when a young Asian female part had to be cast, but unfortunately lead roles for Asians were few and far between. Instead of becoming a star, this beautiful woman with a complexion described as "a rose blushing through old ivory" continued to be stuck in supporting roles, as in Tod Browning's melodrama Drifting (1923) and the western Thundering Dawn (1923). She even played an Eskimo in The Alaskan (1924). She appeared as Tiger Lily, "Chieftainess of the Indians," in Paramount's prestigious production of J.M. Barrie's Peter Pan (1924), but the role was very small (the film was shot on Santa Catalina Island, where the cast stayed during the production.
The 170-cm-tall (5'7", although other sources cite her height as 5'4½") beauty was known as the world's best-dressed woman and widely considered to have the loveliest hands in the cinema. Her big breakthrough after her auspicious start with "The Toll of the Sea" finally came when Douglas Fairbanks cast her in a supporting role as a treacherous Mongol slave in his Middle Eastern/Arabian Nights extravaganza The Thief of Bagdad (1924). The $2-million blockbuster production made her known to critics and the movie-going public. For better or worse, a star, albeit of the stereotypical "Dragon Lady" type, was born.
Despite her waxing fame, she was limited to supporting roles, as Caucasian actresses, including most improbably Myrna Loy, continued to be cast as Asian women in lead roles from the 1920s through the 1940s, despite the ready availability of Anna May Wong. She was unable to attract lead parts despite her beauty and proven acting talent, even in films featuring Asian women, but she did carve out a career as a supporting player in everything from A-list movies to two-reel comedies and serials. The characters she played typically were duplicitous or murderous vamps who often reaped the wages of their sin by being raped. It was a demeaning apprenticeship that most Caucasian actresses did not have to go through. Anna wanted was to play modern American women all through her career but was thwarted because of racism. Later, when she journeyed to Europe to escape the typecasting of Hollywood, she told journalist Doris Mackie, "I was so tired of the parts I had to play. Why is it that the screen Chinese is always the villain? And so crude a villain--murderous, treacherous, a snake in the grass."
Wong embodied the Caucasian ideal of a foreign exotic beauty, an alien presence despite her American citizenship. The movie magazine "Pictures" published a memoir of hers in 1926 in which she complained, "A lot of people, when they first meet me, are surprised that I speak and write English without difficulty. But why shouldn't I? I was born right here in Los Angeles and went to the public schools here. I speak English without any accent at all. But my parents complain that the same cannot be said of my Chinese. Although I have gone to Chinese schools, and always talk to my father and mother in our native tongue, it is said that I speak Chinese with an English accent!". Many Chinese-Americans considered themselves "Chinese in America," an attitude bolstered by the anti-Chinese, anti-Asian attitude of the US government and the American culture. In her memoir, Wong referred to herself as "Chinese" or "Americanized Chinese," but not as an "American" or "Chinese-American."
Anna May Wong appeared as a dancer in a play within a movie shot in Technicolor for the Ronald Colman vehicle His Supreme Moment (1925), but her Hollywood output generally was undistinguished. In 1926 she seems to have appeared in a "race" film made by Chinese-Americans for a Chinese-American audience, The Silk Bouquet (1926) (aka "The Dragon Horse"). Moving between Poverty Row and the majors, she appeared again with Lon Chaney in Mr. Wu (1927) at MGM and with Warner Oland and Dolores Costello in Old San Francisco (1927) at Warner Brothers. Warners also cast her in support of Oriental yellowface queen Myrna Loy in The Crimson City (1928). Despite her WASP looks and red hair, Loy in Chinese yellowface had become a major "Oriental" star in American films desiring an exotic element. This indignity may have been what pushed Wong to seek her future somewhere other than Hollywood.
She moved to Europe in 1928, where she made movies in the UK and Germany. She made her debut on the London stage with the young up-and-coming Laurence Olivier in the play "The Circle of Chalk." After receiving a drubbing for her voice and singing from the London critics, she paid a Cambridge University tutor to improve her speech, with the result that she acquired an upper-crust English accent. Later she appeared in Vienna, Austria, in the play "Springtime."
European directors appreciated Wong's unique talents and beauty, and they used her in ways that stereotype-minded Hollywood, hemmed in by American prejudice, would not or could not. Moving to Germany to appear in German films, she became acquainted with German film personalities, including Marlene Dietrich and actress-filmmaker Leni Riefenstahl. She learned German and French and began to develop a continental European attitude and outlook. In Europe she was welcomed as a star. According to her biographer Graham Russell Gao Hodges, Wong hobnobbed with "an intellectual elite that included princes, playwrights, artists and photographers who clamored to work with her." Anna May Wong was featured in magazines all over the world, far more than actresses of a similar level of accomplishment. She became a media superstar, and her coiffure and complexion were copied, while "coolie coats" became the rage. According to Hodges, "[S]he was the one American star who spoke to the French people, more than Greta Garbo, Joan Crawford or Mary Pickford, the top American actresses of the time." But, ironically, "[S]he's the one who's now forgotten." Wong was cast in Ewald André Dupont's silent film Piccadilly (1929) as a maid who is fired from her job at a London nightclub after dancing on top of a table, then rehired as a dancer to infuse the club with exotic glamour. Her first talkie was The Flame of Love (1930) (aka "The Road to Dishonour", although some sources claim it was "Song" aka "Wasted Love" in that same year), which was released by British International Pictures. In a time before dubbing, when different versions of a single film were filmed in different languages, Wong played in the English, French and German versions of the movie.
Paramount Pictures offered her a contract with the promise of lead roles in major productions. Returning to the US in 1930, Wong appeared on Broadway in the play "On the Spot." It was a hit, running for 167 performances, and she moved on to Hollywood and Paramount, where she starred in an adaptation of Sax Rohmer's novel "Daughter of Fu Manchu" called Daughter of the Dragon (1931). She was back in stereotype-land, this time as the ultimate "Dragon Lady," who with her father Fu Manchu (played by ethnic Swede Warner Oland, the future Charlie Chan) embodied the evil "Yellow Peril." While "Daughter of the Dragon" may have been B-movie pulp, it enabled Wong to show off her talent by delivering a powerful performance.
Her best role in Hollywood in the early 1930s was in support of Marlene Dietrich in Josef von Sternberg's Oscar-winning classic Shanghai Express (1932). However, Hollywood in the 1930s was as racist as it had been in the Roaring Twenties, and MGM refused to cast her in its 1932 production of The Son-Daughter (1932), for which she did a screen-test, as she was "too Chinese to play a Chinese." Helen Hayes played the role in yellow-face. Similarly, she was later kept out of both a lead and supporting role in MGM's prestige production of The Good Earth (1937), its filming of Pearl S. Buck's popular novel, after flunking another screen test for failing to live up to a white man's idea of what "looked" Chinese. MGM screen-tested her for the lead role of O-Lan, the sympathetic wife of Chinese farmer Wang Lung (to be played by Paul Muni, personally cast in the part by Irving Thalberg). She also was considered for the supporting role of Lotus, Wang Lung's concubine. Anna, an ethnic Chinese, lost out on both roles to two Austrian women, Luise Rainer and Tilly Losch, as Albert Lewin, the Thalberg assistant who was casting the film, vetoed Wong and other ethnic Chinese because their looks didn't fit his conception of what Chinese people should look like. Ironically, the year "The Good Earth" came out, Wong appeared on the cover of Look Magazine's second issue, which labeled her "The World's Most Beautiful Chinese Girl." Stereotyped in America as a dragon lady, the cover photo had her holding a dagger. Luise Rainer would win the Best Actress Oscar for her performance of O-Lan in Chinese yellowface.
There were practical considerations for MGM's refusal to cast Wong opposite Muni. It was illegal in many states, including California, for Asians to marry Caucasians, and featuring an interracial couple, even if they were playing the same race, likely would mean the movie would be rejected by many theater chains in regions in which anti-Asian prejudice was particularly severe, such as the South. The new Motion Picture Production Code of 1934 forbid black/white miscegenation and MGM did cast Walter Connelly (a white actor) opposite Soo Yong (a Chines-American actress) as a married couple. Anna May returned to England, reportedly distraught at the injustice perpetrated by MGM and her home country. In England she alternated between films and the stage, but she was obliged to return to the US to fulfill her Paramount contract. She appeared in two Robert Florey-directed pictures, Daughter of Shanghai (1937) as a non-stereotypical Asian-American female lead, and Dangerous to Know (1938). She also appeared in major roles in King of Chinatown (1939) and Island of Lost Men (1939).
Anna May Wong did not appear in films from 1939-41, when she was cast as a supporting player in Ellery Queen's Penthouse Mystery (1941), an entry in the B-movie series. Her last two starring roles in films were in a pair of anti-Japanese propaganda films, Bombs Over Burma (1942) and Lady from Chungking (1942), both of which were made by Producers Releasing Corp., the lowest of the Poverty Row studios. The major studios, when shooting propaganda films requiring a sympathetic Asian lead, reverted to the old practice of casting Caucasians in yellow-face, no matter how absurd the result.
As her movie career went into eclipse in the 1940s (she would not appear in another motion picture until 1949), she found work on the stage and in radio and then in the new medium of television. Wong wrote a preface to the book "New Chinese Recipes" in 1942, which was one of the first Chinese cookbooks printed in the US. The proceeds from the cookbook were dedicated to United China Relief.
Though Wong was vocal in her opposition to stereotypes and typecasting, and was one of Hollywood's more memorable victims of racism in being denied leading roles in A-list pictures because the racist mores of the times prevented an Asian woman from kissing a Caucasian actor, she was considered socially suspect by her own people. The roles she was forced to accept in order to have an acting career, as well as her status as a single woman, disgusted many Chinese in America and in her ancestral homeland, where actresses were equated with prostitutes and where women were still played by men in classical opera. On a trip to China in 1936, Anna May was welcomed by the country's cultural elite in cosmopolitan Beijing and Shanghai, but she had to abandon a trip to her parents' ancestral village when her progress was blocked by a crowd of protesters. Someone in the crowed denounced her with "Down with Huang Liu Tsong, the stooge that disgraces China. Don't let her go ashore." Upon her return from China, Wong was determined to play Chinese characters more authentically, but her only options were to reject roles she deemed racist or to try to soften them from within the belly of the beast. Ultimately for this proud woman, it was a losing battle.
Chinese nationalism had been on the upswing since Yat-sen Sun ended the Manchu Empire in 1911 and was rife in reaction to the war of aggression launched against China by the Empire of Japan. Chinese nationalists, concerned about the portrayal of Chinese people as evil incarnate in American popular culture, were offended by Wong's portrayals of Asians and exotics. Though she would spend the World War II years working for Chinese charities and relief agencies, she was snubbed by Madame Chiang, the sister-in-law of Yat-sen Sun and wife of Kai-Shek Chiang, the army general who led the Nationalist Chinese, during Madame Chiang's 1942-43 propaganda tour of the US. Her biographer Hodges claims this was the beginning of a consensus among Chinese and Chinese-Americans that Wong was an embarrassment. Chinese and Chinese-Americans chose to blame her rather than Hollywood for the demeaning stereotypes she had to play in order to work. The result of this new consensus, according to Hodges, was that "her memory has been washed away."
Anna May's career in motion pictures was virtually finished after the war. She got her own TV series, The Gallery of Madame Liu-Tsong (1951), on the Dumont Network, playing a Chinese detective in a role written expressly for her, a character who was even given her real Chinese name. The half-hour program, which ran weekly from August 27 to November 21, 1951, was the first TV show to star an Asian-American.
Wong's personal relationships typically were with older Caucasian men, but California law forbade marriage between Asians and Caucasians until 1948. One of her white lovers offered to marry her in Mexico, but the couple's intentions became known and he backed off when his Hollywood career was jeopardized. Wong mused about marrying a Chinese man at times, but the Chinese culture held actresses to be on a par with prostitutes, which made her suspect marriage material. She was afraid that the mores of her culture likely meant that marrying a Chinese would force her to quit her career and be an obedient wife.
Anna May Wong appeared in over 50 American, English and German films in her career, making her the first global Chinese-American movie star. She was forced to fight against racism and stereotyping all her professional life, while simultaneously being criticized by Chinese at home and abroad for perpetuating stereotypes in the media. Despite this tremendous burden, the beautiful woman assayed an elegance and sophistication on-screen that made her the paradigm of Asian women for a generation of movie audiences.
Anna May Wong loved reading, and her favorite subjects spanned a wide range, everything from Asian history and Tzu Lao to William Shakespeare. She never married but occupied her time with golf, horses, and skiing. Wong smoked, drank too much, and suffered from depression. She was poised to make a comeback as a character actress on the big screen toward the end of her life, having appeared as Lana Turner's maid in Ross Hunter's sudsy potboiler Portrait in Black (1960). She was cast in the role of Madame Liang in Flower Drum Song (1961), the movie version of Richard Rodgers's and Oscar Hammerstein II's Broadway musical "Flower Drum Song," but before shooting could begin she passed away.
Anna May Wong died of a massive heart attack on February 3, 1961, in Santa Monica, CA, after a long struggle against Laennec's cirrhosis, a disease of the liver. She was 56 years old. Her fame lives on, four decades after her death. She is a part of American popular consciousness, chosen as one of the first movie stars to be featured on a postage stamp. And the interest in her continues: a play about Anna entitled "China Doll--The Imagined Life of an American Actress," written by Elizabeth Wong, had its premiere at Maine's Bowdoin College in 1997. A lecture and film series, "Rediscovering Anna May Wong," was held at the UCLA Film and Television Archive in 2004, sponsored by "Playboy" publisher Hugh Hefner. That same year New York City's Museum of Modern Art held its own tribute to Wong, "Retrospective of a Chinese-American Screen Actress." Finally she was getting the respect in her own country that was denied her during her career.
A biography by Colgate University history professor Graham Russell Gao Hodges, "Anna May Wong: From Laundryman's Daughter to Hollywood Legend," was published by Palgrave Macmillan in 2004. Hodges considers Anna May's life and career to be amazing, particularly in light of the fact that her star has yet to be eclipsed by any other Asian-American female star, despite the change in attitudes. Finally, in 2004, the British Film Institute restored E.A. Dupont's 1929 silent film "Piccadilly".- Anna Quirentia Nilsson, popularly known as "Anna Q", who was born on March 30th, 1888, in Ystad, Sweden, emigrated to the United States in 1905. The 5'7" Nilsson used her blonde beauty to become a famous model for well-known fashion photographers and fine artists. In 1907 she was chosen the most beautiful girl in the US and in 1911 made her film debut in Molly Pitcher (1911). She was an overnight sensation, becoming a silent film superstar in the first decade of the 20th century. In 1914 she was chosen the most beautiful actress "in the world" and Photoplay magazine named her "the ideal American girl" in 1919.
She appeared in films by the top studios in Hollywood, including Goldwyn, Famous Players (Paramount), Metro and First National. Her movie career continued to flourish in the 1920s, the decade of the flapper and bathtub gin, the so-called Jazz Age. In 1926 she was chosen the most popular actress. However, she suffered a major setback in 1928, when she was thrown off a horse and fractured her thigh. To her relatives in Sweden she wrote " . . . no tragedy is greater than mine. I am still a young star and suddenly everything is lost". Her fans supported her with some 30,000 letters a month and Nilsson tried to rush her convalescence. It made a bad situation worse and doctors needed to shorten her leg.
In 1931 Nilsson was back before the camera, but her stardom was unfortunately in the past. She appeared in approximately 40 more films until she retired in 1954. She was one of the bridge players (a.k.a. the "wax works") in Norma Desmond's mansion in Sunset Boulevard (1950), appearing with her former co-star, silent film superstar and prominent victim of sound, H.B. Warner. Four years later, she appeared in a small part in her motion-picture swan-song, the classic musical Seven Brides for Seven Brothers (1954).
Anna Q. Nillson died on February 11, 1974, six weeks shy of her 85th birthday.