The Iron Petticoat (1956)
The celebrated stage and screen star died on July 14 in Los Angeles, a family spokesperson said.
Pooley was well known for his role as villainous scientist Professor Stahlman in the 1970s' Doctor Who serial, 'Inferno'.
He also appeared in numerous other television shows including Star Trek:Voyager, Dr. Quinn, Medicine Woman and La Law.
As well as a successful film career with appearances in The Lost People, Highly Dangerous, The Iron Petticoat alongside Katherine Hepburn and Bob Hope and the 1971 horror, The Corpse, he was also a regular on the stage.
He originated the part of Chorley Bannister in Noel Coward's Peace in Our Time in 1947 and he had roles in productions of Twelve Angry Men, The Tempest and Othello.
In his later years, Pooley retired from acting and turned to painting, and was an artist
Anne Marie's last episodes airs tomorrow Wednesday December 31st. But until then... take a peak at any you missed. Some chapters will be substantially rewritten for the book.
1930s: A Bill of Divorcement, Christopher Strong, Morning Glory, Little Women, Spitfire, The Little Minister, Break of Hearts, Alice Adams, Sylvia Scarlett, Mary of Scotland, A Woman Rebels, Quality Street, Stage Door, Bringing Up Baby, Holiday,
1940s: Philadelphia Story,
The 50s were a time of great growth for Kate. The studio system collapsed and stars became more autonomous (Kate had left MGM after Pat & Mike) and Kate used the opportunity to break out of the glamorous-but-dull mold she'd been thrust into. She pursued scripts, directors, and collaborations that electrified her onscreen and off. She toured in Shakespeare, worked with Oscar-nominated directors, and forged a career renaissance even as her contemporaries flailed. Yes, the films she made contained the dreaded "S" word, but if her ladies were single, they were also single-minded and smart. Kate could have been pushed to the side. Instead she found great roles and challenged herself with the opportunities a collapsing system afforded. If her films seem troublesome now, the craftsmanship and artistic growth of this period cannot be denied.
By Barbara Lovenheim
It seems improbable for a new slant on Katharine Hepburn to emerge, but the upcoming exhibit Katharine Hepburn: Dressed for Stage and Screen at the New York Public Library for the Performing Arts at Lincoln Center and the five excellent essays in the new Skira/Rizzoli companion book "Katharine Hepburn: Rebel Chic" are provocative and eye-opening. Contrary to Hepburn’s public image as an indifferent fashion rebel who wore slacks in public years before pant suits came into vogue, Hepburn cultivated her counter-culture image deliberately and with great precision when she became aware of its publicity value, eventually ordering custom-made slacks and shoes and, on the sly, ordering handmade French lingerie.
“I think you should pretend you don’t care,” she once remarked to Garbo, who captivated Hollywood with her mannish suits, hats, and Ferragamo flat-heeled shoes. “But it’s the most outrageous pretense.
The 1956 Cold War comedy was directed by Ralph Thomas and starred Bob Hope (although the role was originally written for Cary Grant) and Katherine Hepburn, and focuses on Hepburn's Russian jet pilot who lands in West Germany and is quickly converted to capitalism after spending time with Hope's Major Lockwood. But hey, this isn't all about political ideals, there's also a love story in there as well. Essentially, it's very much in the vein of "Ninotchka" (in fact they are so similar,
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