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- Actor
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A cigar-smoking, monocled, swag-bellied character actor known for his Old South manners and charm. In 1918 he and his first wife formed the Coburn Players and appeared on Broadway in many plays. With her death in 1937, he accepted a Hollywood contract and began making films at the age of sixty.- Actor
- Soundtrack
There are very few character actors from the 1930s, '40s or '50s who rose to the rank of stardom. Only a rare man or woman reached the level of renown and admiration, and had enough audience appeal, to be the first name in a cast's billing, a name that got marquee posting. Charles Coburn comes to mind, but there aren't many others. However, one who made it was Edmund Gwenn.
Gwenn was born Edmund Kellaway in Wandsworth, London, on September 26, 1877. He was the oldest boy in the family, which at that time meant he was the only one who really mattered. His father was a British civil servant, and he groomed Edmund to take a position of power in the Empire. However, early on, the boy had a mind of his own. For a while, his inclination was to go to sea, but that ended when one of his forebear's in the Queen's Navy was court-martialed for exceeding his "wine bill". In addition to that, Edmund had poor eyesight and perhaps most importantly, he was his mother's darling, and she kept having visions of shipwrecks and desert island strandings. As for the civil service, to the boy it seemed like a "continent of unexplored boredom".
He attended St. Olaf's College and would attend King's College in London as well. Surprisingly, he excelled at rugby and amateur boxing. Meanwhile, he developed a strong inclination to the stage, partly because of his admiration for the great English actor, Henry Irving. A major roadblock to that ambition, however, was his father, who, at that time, was stationed in Ireland. When Edmund broke the news to his father that he had chosen acting as a career, there followed "a scene without parallel in Victorian melodrama." His father called the theatre "that sink of iniquity." He predicted that, if Edmund went into theatre, he would end up in the gutter, and then literally "showed him the door." Years later his father would admit he had been wrong, but that didn't help the young man during an all-night crossing from Dublin to England during which he had time to reflect. He was penniless. His experience consisted of a few performances in amateur productions, and he knew that if he failed, there was no going back home.
However, in 1895, at the age of eighteen, he made his first appearance on the English stage with a group of amateurs just turned professional, playing two roles, "Dodo Twinkle" and "Damper", in "Rogue and Vagabond". For a long time afterward, he refused to go on stage without a false beard or some other disguise, fearing someone would recognize him and tell his father (it's a bit ironic, by the way, that Edmund's younger brother Arthur would also become an actor using the name of Arthur Chesney). During the next few years, roles were hard to come by but, by 1899, he made his first appearance on the West End in London in "A Jealous Mistake". This was followed by ten years in the hinterlands acting with stock and touring companies, gradually working his way up from small parts to juicier roles. While with Edmund Tearle's Repertory Company, which toured the provinces, he played a different role each night. It was excellent training, in that he acted in everything from William Shakespeare to old melodrama.
About this time, he married Minnie Terry, niece of the more famous actress Ellen Terry, a marriage that evidently was short-lived. Most sources list it as beginning and ending in 1901, perhaps only for a matter of days or even hours. From that point, Gwenn would remain a bachelor for the rest of his life. He seems to have preferred not going into any details about the marriage and divorce, and Minnie Terry, who outlived Gwenn, apparently never mentioned what happened, at least not publicly. That same year, however, he went to Australia and acted there for three years, not returning to London until 1904. There, he took a small part in "In the Hospital", which led to his receiving a postcard from George Bernard Shaw, offering him a leading role as "Straker", the Cockney chauffeur, in "Man and Superman". Gwenn accepted (by this time he was Edmund Gwenn) and the play was a success. Shaw became a sort of professional godfather for him. He appeared in "John Bull's Island", "Major Barbara", "You Never Can Tell", "Captain Brassbound's Conversion" and "The Devil's Disciple", all by Shaw. He spent three years in Shaw's company, years which he called "the happiest I've ever had in the theatre".
From 1908 until 1915, he performed in new plays by noted playwrights of the time, including John Masefield's "The Campden Wonder", 'John Galsworthy''s "Justice" and "The Skin Game", J.M. Barrie's "What Every Woman Knows" and "The Twelve Pound Look", as well as Henrik Ibsen's "The Wild Duck" and Harley Granville-Barker's "The Voysey Inheritance". By this time, World War I had started and Gwenn, despite his poor eyesight, was conscripted into the British Army. Most of his time during "The Great War" was spent drawing supplies up to the front lines, while under fire. He was so successful at this task that, after a year as a private, he received a steady stream of promotions until eventually becoming a captain.
After the War, he returned to the stage and, in 1921, made his first appearance in the US in "A Voice from the Minaret" and "Fedora". He would return to America in 1928 to replace his friend, Dennis Eadie, who had died while in rehearsal for "The House of Arrows", but for most of this time, he was in England doing more stage roles and two dozen British films.
His first appearance on screen was in a British short, The Real Thing at Last (1916) in 1916, while he was still in the army. His next film roles were in Shaw's How He Lied to Her Husband (1931) and J.B. Priestley's The Good Companions (1933). He was also in Unmarried (1920) in 1920 and a silent version of "The Skin Game" (The Skin Game (1921)) as "Hornblower", a role he would reprise in 1931 for a talking version (The Skin Game (1931)) directed by Alfred Hitchcock. From then on, Gwenn was to work steadily until the end of his life. He appeared in English stage plays and films, eventually doing more and more on Broadway and in Hollywood. For example, he played the amiable counterfeiter in "Laburnum Grove" in 1933 (later to become the film Laburnum Grove (1936) in which he would star) and then with the entire British company brought it to New York. He was also a huge success in "The Wookey" in 1942, playing a Cockney tugboat captain. That same year, he appeared as "Chebutykin" in Anton Chekhov's "The Three Sisters", with Katharine Cornell, Ruth Gordon and Judith Anderson. In such illustrious company, Gwenn was hailed by critics as "magnificent" and "superlatively good".
In 1935, RKO summoned him to Hollywood to portray Katharine Hepburn's father in Sylvia Scarlett (1935). From then on, he was much in demand, appearing in Anthony Adverse (1936), All American Chump (1936), Parnell (1937), and A Yank at Oxford (1938). In 1940, he was the delightful "Mr. Bennet" in Pride and Prejudice (1940), then made a 180-degree turn by playing a folksy assassin in Alfred Hitchcock's Foreign Correspondent (1940). The year 1941 brought Cheers for Miss Bishop (1941), One Night in Lisbon (1941), The Devil and Miss Jones (1941) and Scotland Yard (1941). Then came Charley's Aunt (1941), in which he romanced Jack Benny, masquerading as a woman. Other important films included A Yank at Eton (1942), The Meanest Man in the World (1943), The Keys of the Kingdom (1944) and Between Two Worlds (1944).
In 1945, he played villain "Albert Richard Kingby" in Dangerous Partners (1945). There is a peculiar scene in this film, which makes one wonder what director Edward L. Cahn was thinking. James Craig and Signe Hasso, the hero and heroine, are being held by the villainous Gwenn in a room, when Gwenn comes in to interrogate them. In the midst of this, the 33-year-old, 6'2" Craig punches the 68-year-old, 5'5" Gwenn in the belly and then forces the doubled-over Gwenn to release them. Admittedly, Craig and Hasso must escape, and Gwenn's character is pretty evil, but knocking the wind out of the old man makes Craig seem like a bully and far less sympathetic.
After "Dangerous Partners", Gwenn was in Bewitched (1945), She Went to the Races (1945), Of Human Bondage (1946), Undercurrent (1946), Life with Father (1947), Green Dolphin Street (1947) and Apartment for Peggy (1948). In Thunder in the Valley (1947), he played one of his most unlikable characters, a father who beats his son, smashes his violin and shoots his dog.
Then in 1947, he struck it rich. Twentieth Century-Fox was planning Miracle on 34th Street (1947). It had offered the role of "Kris Kringle" to Gwenn's cousin, the well-known character actor Cecil Kellaway, but he had turned it down with the observation that "Americans don't like whimsy". Fox then offered it to Gwenn, who pounced on it. His performance was to earn him an Academy Award as Best Supporting Actor (at age 71) and, because it is rerun every Christmas season, he would become for many their all-time favorite screen Santa. Accepting the award, Gwenn said, "Now I know there is a Santa Claus". He beat out some stiff competition: Charles Bickford (The Farmer's Daughter (1947)), Thomas Gomez (Ride the Pink Horse (1947)), Robert Ryan (Crossfire (1947)) and Richard Widmark (Kiss of Death (1947)). As soon as he got the part, Gwenn went to work turning himself into Santa Claus. Though rotund, Gwenn didn't feel he was rotund enough to look like the jolly old elf most people expected after having read Clement Moore's "The Night before Christmas", in which Santa "had a broad face and a little round belly / That shook when he laughed like a bowlful of jelly." He could of course wear padding, but he resisted that as too artificial. So he put on almost 30 pounds for the role, a fair amount for a man of his short stature, and added nearly five inches to his waistline. The problem was that after the film was finished, Gwenn found it hard to lose the extra weight. "I've been stocky all my adult life," he said, "but now I must accept the fact that I'm fat." As was his nature, he didn't get upset, and instead was able to laugh about it. Six years later, when playing an elderly professor in The Student Prince (1954), he had a scene in which he entered the Prince's chamber, struggling with the buttons of a ceremonial uniform. The line he was given was, "I'm too old to wear a uniform," but Gwenn suggested a change which stayed in the finished film, "I'm too old and fat to wear a uniform."
Gwenn had lost his hair early on, and had no more concern about it than he did about his portliness. In a fair number of films, such as Pride and Prejudice (1940), he appears bald, but he also played many roles with a toupee if he felt that worked better for the character. He would select a hairpiece that helped achieve the look he was after for the role. As regards the rest of his appearance, Gwenn is commonly listed as 5'6" tall, which may have been accurate when he was a younger man, but by the time he was a Hollywood regular he appears to be at least two inches shorter. Plagued by weak eyesight since his youth, Gwenn wore a pince-nez for a while, and then glasses, off-screen and sometimes on. Though he enjoyed fine clothes, he does not seem to have been in the least bit vain about any physical shortcomings he may have had. He looked a bit like a benign clergyman, perhaps of the Anglican faith, an image enhanced by his soft, almost soothing voice. He once said he was "always short and stocky, and not a particularly handsome thing. I could never play romantic leads." After "Miracle on 34th Street," however, Gwenn was a star and constantly in demand, especially when the role called for a kindly eccentric.
Gwenn remained a British subject all his life. When he first moved to Hollywood, he lived at the Beverly Wilshire Hotel in Beverly Hills. His home in London had been reduced to rubble during the bombings by the Luftwaffe in World War II. Only the fireplace survived. What Gwenn regretted most was the loss of the memorabilia he had collected of the famous actor Henry Irving. Eventually Gwenn bought a house at 617 North Bedford Drive in Beverly Hills, which he was to share with his secretary and "confidential man", Ernest C. Bach, and later with former Olympic athlete Rodney Soher.
The year 1950 brought a pair of interesting films. In Louisa (1950) he and Charles Coburn were romantic rivals for the hand of Spring Byington. In one scene Gwenn socks Coburn in the jaw, though Coburn later bests him in arm wrestling. Gwenn wins Byington's hand in the end. He was also delightful in Mister 880 (1950) as a kindly counterfeiter. Gwenn received his second Oscar nomination for his performance, though this time he lost out to George Sanders in All About Eve (1950) He did, however, win the Golden Globe Award.
In 1952 he appeared in Sally and Saint Anne (1952) as Grandpa Patrick Ryan, affecting an Irish brogue for the role. He played football coach Pop Doyle, teamed up with a chimpanzee, in Bonzo Goes to College (1952). "The Student Prince" followed in 1954, as did the science-fiction classic Them! (1954). This film raises an interesting observation. The year before, Cecil Kellaway had appeared in another sci-fi classic, The Beast from 20,000 Fathoms (1953). Watch the two films together and you'll see that the two cousins are playing essentially the same role, that of an elderly scientist with a lovely daughter who is able to provide the hero, and the audience, with some scholarly background on the dangers they face. The two actors could easily have switched roles. "Them!" is noteworthy, too, in that it was a particularly physically painful part for Gwenn. By this time he was 77 and suffering from advanced arthritis. Several scenes in the movie were filmed in the desert, where the temperature often reached 110 degrees. The costumer had outfitted him in a wool suit for some of the early scenes. Joan Weldon, who played his daughter, has noted that Gwenn was in great discomfort and almost certainly could not have continued without the help of his valet, Ernest.
The next year Gwenn was in It's a Dog's Life (1955) and The Trouble with Harry (1955). His film work has some interesting patterns. "Dog's Life" was at least the third time Gwenn made a film centered on a dog. He had already co-starred with Pal as Lassie in Lassie Come Home (1943) and Challenge to Lassie (1949). "Harry" was Gwenn's fourth picture directed by Alfred Hitchcock, the others being "The Skin Game", Strauss' Great Waltz (1934) and "Foreign Correspondent". Gwenn's last feature film was The Rocket from Calabuch (1956), shot in Spain and released in 1958, when he was 81. As for TV, his most memorable role may have been as a snowman that comes to life in a Christmas night telecast on The Ford Television Theatre (1952) from a story by Nathaniel Hawthorne, "Heart of Gold".
Gwenn's final days were spent at the Motion Picture Home in Woodland Hills, California. Having endured terrible arthritis for many years, he had suffered a stroke, and then contracted pneumonia, from which he died at age 81 on September 6, 1959. His body was cremated, and his ashes were originally stored in a private vault at the Chapel of the Pines Crematory in Los Angeles. In March 2023, Gwenn's misplaced urn was found in the vault by Hollywood Graveyard creator Arthur Dark and researcher Jessical Wahl. Dark and Wahl created a GoFundMe campaign to fund moving Gwenn's urn to a publicly accessible location and, on December 3, 2023, Gwenn's urn was reinurned in the Cathedral Mausoleum at Hollywood Forever Cemetery.
Gwenn had appointed Rodney Soher as the executor of his will, in which he had left Minnie Terry one-third of his estate, his sister Elsie Kellaway a third, and Ernest Bach a third, in addition to his clothes, shoes, linens, ties and luggage. However, for some reason, while he was spending his last days at the Motion Picture Home, Gwenn signed a codicil to his will, in which he said he had given Bach the lump sum of $5000, and that was all he was to receive. After Gwenn's death, Bach challenged the codicil, claiming that Gwenn was not of sound mind while in the Home and that some unnamed person--possibly referring to Soher--had unduly influenced Gwenn to change his will. The outcome is not known. There is a story that has been around for years that shortly before he died a visitor observed, "It must be hard [to die]", to which Gwenn replied, "Dying is easy. Comedy is hard". The story and the wording vary somewhat from teller to teller. Gwenn may indeed have said it, but he may have been repeating someone else. The quotation has also been ascribed to several earlier wits, including his mentor George Bernard Shaw and the famous actor Edward Keane. Gwenn's star on the Hollywood Walk of Fame can be found at 1751 Vine Street.- Josephine Sherwood changed her name after marrying stage actor Shelly Hull in 1910. She studied drama at Radcliffe College -- much to the dismay of her parents -- and first worked on the stage in a stock company in Boston. Her husband died in 1919, aged 35, of Spanish influenza. Josephine left the stage for three years and never re-married but resumed her theatrical career with renewed vigour from 1923. Short and dumpy of stature and with a distinctively brittle delivery, Josephine possessed an undeniable stage presence as well as exquisite timing. On Broadway, she alternated between comedy and drama. One of her best performances was as a member of the balmy Vanderhof family in You Can't Take It with You (1938) (the film version by Frank Capra came out two years later).
She is most fondly remembered for two indelible theatrical enactments which she would later reprise on screen. First, she was the sweetly homicidal Abby Brewster in the farce 'Arsenic and Old Lace', who, with her sister Martha (Jean Adair), sets about poisoning lonely old men with elderberry wine. The play ran on Broadway for three seasons (1941-44) and was a massive popular and critical hit with 1444 performances. The resulting 1944 motion picture was an equally resounding success and became one of Warner Brothers three biggest money-making films of the year. Josephine's second major role was that of Veta Louise Simmons, perpetually befuddled, beleaguered sister of Elwood P. Dowd (whose best friend is an imaginary rabbit) in Harvey (1950). This delightfully whimsical play by Mary Chase was an even greater smash hit, totalling 1775 performances between November 1944 and January 1949. Again, Josephine reprised her role on screen in 1950 and deservedly won the Academy Award for Best Supporting Actress that year. Critic Bosley Crowther commented "Josephine Hull plays Elwood's sister with such hilarious confusion and daft concern that she brings quite as much to the picture as does Mr.Stewart - or his pal to be sure...and it would be an unhappy screen version that did not contain her rotund frame, her scatter-brained fussing and fluttering and her angelic gentleness of soul" (New York Times, December 22 1950). Hardly surprising, then, that with so many years spent on the stage, Josephine Hull's screen career was not particularly prolific. She even got to first billing in the starring role of the theatrical version of 'The Solid Gold Cadillac' (1953-55), as Laura Partridge (later filmed with Judy Holliday in the lead).
Josephine died in New York in March 1957 of a brain hemorrhage, aged 80. - Writer
- Additional Crew
Isadora Duncan was an American dancer and innovative educator known for interdisciplinary and cross-cultural projects, and a hectic marriage to the famous Russian poet Sergei Esenin.
She was born Isador 'Dora' Angela Duncan on May 26, 1877, in San Francisco, California. Her father, Joseph Duncan, was a cultured man, a poet and an art connoisseur, who worked for the Bank of California. Her mother, an amateur pianist, after divorcing her father, lived a high-principled Victorian lady's life with four children an very little money. Young Isadora was raised in Oakland, California. She was obsessed with dancing from an early age. Although she was not exposed to rigorous classical ballet practice, she achieved recognition in San-Francisco. There, she started teaching a dance class for children when she was just 14 years old.
She began her professional career in Chicago in 1896, under producer and playwright Augustin Daly. He cast Duncan as Titania in 'A Midsummer Night's Dream', and she traveled with his company to Europe. Back in the USA, Duncan performed solo dances at the homes of wealthy patrons. She called her program The Dance and Philosophy and performed it to the waltzes of Johann Strauss. In 1899, she left America with her mother and siblings to settle in London. There she met Mrs. Patrick Campbell, the idol of the London stage, who introduced Duncan to London society.
From 1899-1907, Duncan lived in London, Paris and Berlin. She began using the music of Frédéric Chopin and Ludwig van Beethoven for her dance. In 1903 she moved to Berlin. There Duncan was introduced to the philosophy of Friedrich Nietzsche. She formulated her own philosophy of The Dance of the Future modeled after the ancient Greeks: natural and free. Duncan called for abolition of ballet. She accused ballet of "deforming the beautiful woman's body" and depriving it of human naturalness. "The Dance of the Future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art, it is mere merchandise" - stated Duncan. Her school of dance in a suburb of Berlin was the start of her famous dance group, later known as the Isadorables.
Duncan made several tours of Russia and met with directors Konstantin Stanislavski and Vladimir Nemirovich-Danchenko at the Moscow Art Theatre. In St. Petersburg, she also attracted the attention of Anna Pavlova and Tamara Karsavina among other leading ballerinas of the Mariinsky Ballet. Having established good connections with Russian intellectuals, she Returning to the US, her performances were poorly received by critics, who bashed Duncan for her "physical interpretation" of music on stage. She left America in 1909, after less than a year, and never lived there again, returning only for tours.
From 1909 to 1913, Duncan lived in Palais Biron in Paris, where her neighbors were artist Henri Matisse, writer Jean Cocteau, and sculptor Auguste Rodin. Eventually she established three schools in France, Germany, and Russia, and gained tremendous popularity across Europe. Her personal life was marked with as much freedom as was her dancing. Duncan had a child by designer Gordon Craig, and another child by Paris Singer, the heir to the sewing machine fortune. Her both children drowned in an accident on the Seine River in 1913. By that time, she was an acclaimed performer in Europe. She danced to the Ninth Symphony by Ludwig van Beethoven. Her face was carved in the bas-relief by sculptor Antoine Bourdelle in the Theatre des Champs-Elysees, and was painted in the murals by artist Maurice Denis.
After the Russian Revolution of 1917, Duncan moved to Moscow. There she married the popular poet Sergei Esenin who was 17 years her younger. This was her one and only official marriage. She took Esenin on tour to the US in 1922-1923. At that time her appearances were marked by baring her breasts on stage and shouting, "This is red! So am I!" The following year, Esenin left Duncan and returned to Moscow, where he suffered a mental breakdown and sought psychiatric help. Meanwhile, her apprentice, Irma Duncan, remained in the Soviet Union and ran the Duncan Dancing School there. At that time, Duncan evolved as a follower of Friedrich Nietzsche and remained anti-religious for the rest of her life.
Duncan's ex-husband Esenin was found dead in a hotel in St. Petersburg, on December 28, 1925. His mysterious death was never completely explained. Isadora Duncan died on September 14, 1927, in Nice, France. She was killed by her long neck scarf caught in the wheel of an open automobile in which she was a passenger. She was pulled from the car and dragged before the driver could stop. Duncan was cremated and her ashes were laid in the Père Lachaise Cemetery in Paris, France.
Her highly popular Russian school was closed in 1939, under the dictatorship of Joseph Stalin, and many of her Russian partners were repressed and exiled.
Isadora Duncan was portrayed by Vanessa Redgrave in the 1968 film Isadora (1968).- Actor
- Additional Crew
Sam Harris was born on 11 January 1877 in Sydney, Australia. He was an actor, known for The Charge of the Light Brigade (1936), Safari (1940) and I Cover the War! (1937). He was married to Constance M.K. Harris . He died on 22 October 1969 in Los Angeles, California, USA.- Chief John Big Tree was born on 2 June 1877 in Buffalo, New York, USA. He was an actor, known for She Wore a Yellow Ribbon (1949), The Avenging Arrow (1921) and Ranson's Folly (1926). He died on 6 July 1967 in Onondaga Indian Reservation, New York, USA.
- Olga Roderick, Madame Olga, was born Jane Barnell in Wilmington, NC on January 3, 1871 (or February 28, 1877, depending on the source). Her father was a Russian Jew and her mother Catawba Indian. According to historians, she was growing hair by the age of two and was bearded at four. Her deformity caused her mother to believe that Jane was bewitched, so she sold her to the Great Orient Family Circus when her husband was away on business. Jane would later comment, "I have never been able to find out if Mamma got any money for me, or just gave me away to get rid of me. She hated me, I know that. Daddy told me years later that he gave her a good beating when he got home from Baltimore and found out what had happened."
The circus later merged with a larger circus and successfully toured Europe, eventually traveling to Germany. In Berlin, Jane contracted typhoid fever and taken to a local hospital, where she was not expected to live. Allegedly, after her recovery, she found that the circus had left without her, and she was placed in an orphanage. Her father finally tracked her down and brought her back to the United States, where she worked on her grandmother's farm in Mecklenburg County, North Carolina. Her neighbor, a circus strongman, invited her to join John Robinson's Circus, and at the age of 21, after trying several stage names (including Madame Olga), she settling on Lady Olga Roderick. At the time, her beard was 13 inches long, "the longest in the world."
During her lifetime, Lady Olga worked for more than 25 circuses, including Ringling Brothers, Forepaugh-Sells, Dreamland Circus Sideshow and Hubert's Dime Museum, earning between $20 and $100 per week. It was stated that she seemed to have an overtly inflated view of herself, and was not a terribly happy or friendly person to be around. She was a socialist and very political, expressing her opinions in no uncertain terms.
Lady Olga appeared in Tod Browning's Freaks (1932) as the wife of Pete Robinson, the Skeleton Man, celebrating the birth of their child (who also has a beard). After the film was released (and in later years), she was the most vocal about being very unhappy with the overall portrayal of the sideshow performers in the film, vowing never to work in Hollywood again. She said it was "an insult to all freaks everywhere" and "if the truth be known, we're all freaks together."
Barnell was married four times and had two children by her first husband. Her last marriage was to her "alleged" manager Thomas O'Boyle, who was an ex-clown and a sideshow talker at the gate of Hubert's Museum on 42nd Street. Her last circus performance was in 1938 with Ringling Brothers in New York City, although she continued making public appearances until her death.
Jane Barnell died on October 26, 1951 in Los Angeles, CA. - Actor
- Soundtrack
Born at Shakespeare's birthplace, Stratford-on-Avon, Halliwell Hobbes could perhaps not aspire to anything else but to be an actor. He made his stage debut in 1898 playing Shakespearean repertory with the famous acting company of Sir Frank Benson throughout England. Among others he played opposite Mrs. Patrick Campbell and Ellen Terry. Hobbes came to the American and Broadway as early as 1906, doing performing and some directing until early 1929 when he came to Hollywood as an elderly actor to launch a long career of memorable character roles. In those first years he seemed to be either a lord or a butler. But by 1931 he was much in demand, lending his distinctive and dignified nasal voice to nearly ten films per year through most of the 1930s. Moving from one studio to another, he was doctors, diplomats, more lords, and some very memorable clerics-especially the staid archbishop reduced to laughter in The Prince and the Pauper (1937). The roles were scarcer through the 1940s, but he was back on Broadway by mid 1940 playing Capulet in "Romeo and Juliet." Still that distinctive voice graced over 100 films by 1949. He turned to the richly diverse American TV playhouse format by 1950 and continued with roles through the decade along with a continued presence on Broadway until late 1955. Although he was sometimes uncredited in films, his roles were no less a recorded legacy of a dedicated acting talent.- Actor
- Writer
Marcel Lévesque was born on 6 December 1877 in Paris, France. He was an actor and writer, known for Les vampires (1915), The Vampires: The Terrible Wedding (1916) and The Vampires: Satanas (1916). He died on 16 February 1962 in Couilly-Pont-aux-Dames, Seine-et-Marne, France.- Actress
Rose Dione was born October 22, 1875 in Paris, France. Also known as Rosa Dione, Madame Dione and Madamoiselle Dion, there is very little information about her life, but her first appearance in films was in the 1910 French short subject Fleur des Maquis (Flower of the Maquis). She appeared in 68 films from 1910 until 1932, but her most notable role is as Madame Tetrallini, the guardian of the "children" in Tod Browning's Freaks (1932). She died on January 29, 1936 in Los Angeles, CA at the age of 60.- Actor
- Director
- Writer
Sidney Bracey was born on 18 December 1877 in Melbourne, Victoria, Australia. He was an actor and director, known for The Monster Walks (1932), The Million Dollar Mystery (1914) and Show People (1928). He was married to Evelyn Foshay. He died on 5 August 1942 in Hollywood, California, USA.- Writer
- Music Department
- Soundtrack
Hermann Hesse was born on 2 July 1877 in Calw, Germany. He was a writer, known for The Hours (2002), Siddhartha (1972) and Poem: I Set My Foot Upon the Air and It Carried Me (2003). He was married to Ninon Ausländer, Ruth Wenger and Maria Bernoulli. He died on 9 August 1962 in Montagnola, Switzerland.- Actor
- Additional Crew
British-born Nigel De Brulier's long career began in silent films, but unlike many performers of that era, he managed to successfully transition into sound films. His authoritarian and somewhat regal bearing was perfect for the many bishops, cardinals, knights and other authority figures he often played (he portrayed Cardinal Richelieu four times: in The Three Musketeers (1921), The Three Musketeers (1935), The Iron Mask (1929) and The Man in the Iron Mask (1939)).- Actor
- Soundtrack
O.P. Heggie was born on 17 September 1877 in Angaston, South Australia, Australia. He was an actor, known for Bride of Frankenstein (1935), The Count of Monte Cristo (1934) and Smilin' Through (1932). He was married to Lilian Clara Rogers. He died on 7 February 1936 in Los Angeles, California, USA.- Gibson Gowland was born on 4 January 1877 in Spennymoor, Durham, England, UK. He was an actor, known for Greed (1924), Blind Husbands (1919) and The Phantom of the Opera (1925). He was married to Rachelle Marie Gertrude Dervaes (pianist/actress) and Sylvia Andrew. He died on 9 September 1951 in London, England, UK.
- Helen Ware was born on 15 October 1877 in San Francisco, California, USA. She was an actress, known for The Virginian (1929), Flaming Gold (1932) and The Garden of Allah (1916). She was married to Frederick Burt. She died on 25 January 1939 in Carmel, California, USA.
- Actor
- Soundtrack
Frank Austin was born on 9 October 1877 in Mound City, Missouri, USA. He was an actor, known for The Monster (1925), Court-Martial (1928) and Snowed In (1926). He was married to Kathryn Anne (Kelly) Gutshall. He died on 13 May 1954 in Los Angeles, California, USA.- Claire McDowell was born on 2 November 1877 in New York City, New York, USA. She was an actress, known for Ben-Hur: A Tale of the Christ (1925), The Big Parade (1925) and The Mark of Zorro (1920). She was married to Charles Hill Mailes. She died on 23 October 1966 in Hollywood, California, USA.
- Actor
- Director
- Writer
Maurice Costello was born on 22 February 1877 in Pittsburgh, Pennsylvania, USA. He was an actor and director, known for The Man Who Couldn't Beat God (1915), The Golden Pathway (1913) and Iron and Steel (1914). He was married to Ruth Reeves and Mae Costello. He died on 28 October 1950 in Hollywood, California, USA.- Marcel Rouff was born on 4 May 1877 in Carouge, Switzerland. Marcel was a writer, known for The Taste of Things (2023) and La vie et la passion de Dodin-Bouffant (1972). Marcel was married to Juliette Bloch-Tréfousse. Marcel died on 3 February 1936 in Paris, France.
- Dour-faced US character player in films for more than two decades from 1923, often in portrayals of peace officers such as judges and lawmen. Even at his most elderly, he could frequently be seen as a white-haired, uniformed policeman - often affecting an Irish accent to boot.
- Director
- Cinematographer
- Producer
Fred J. Balshofer was born on 2 November 1877 in New York City, New York, USA. He was a director and cinematographer, known for The Three Buckaroos (1922), Racing Romance (1927) and Broadway Bill (1918). He was married to Cecil Weston. He died on 21 June 1969 in Calabasas, California, USA.- Director
- Actor
- Producer
George Melford was born on 19 February 1877 in Rochester, New York, USA. He was a director and actor, known for Love in the Desert (1929), Jungle Menace (1937) and East of Borneo (1931). He was married to Diana Miller and Louise Marsland. He died on 25 April 1961 in Hollywood, Los Angeles, California, USA.- William Hope Hodgson was born on 15 November 1877 in the UK. William Hope was a writer, known for Matango (1963), Suspicion (1957) and The Rivals of Sherlock Holmes (1971). William Hope died on 19 April 1918 in Ypres, Flanders, Belgium.
- Composer
- Music Department
- Actor
Giuseppe Becce was born on 2 February 1877 in Lonigo, Veneto, Italy. He was a composer and actor, known for The Cabinet of Dr. Caligari (1920), The Life of Richard Wagner (1913) and The White Hell of Pitz Palu (1929). He died on 5 October 1973 in Berlin, Germany.- Actress
- Soundtrack
Bodil Rosing was born on 27 December 1877 in Copenhagen, Denmark. She was an actress, known for Sunrise (1927), You Can't Take It with You (1938) and Why Be Good? (1929). She was married to Einer Jansen. She died on 31 December 1941 in Hollywood, California, USA.- Barlowe Borland was born on 6 August 1877 in Greenock, Scotland, UK. He was an actor, known for The Hound of the Baskervilles (1939), The Little Minister (1934) and A Tale of Two Cities (1935). He was married to Francesca Redding. He died on 31 August 1948 in Woodland Hills, Los Angeles, California, USA.
- Director
- Writer
- Cinematographer
J. Searle Dawley, the man who considered himself "the first motion picture director", was born James Searle Dawley on 5/13/1877 in Del Norte, CO. He was educated in Denver, and after graduating in 1895 became an actor with Louis Morrison's stock theatrical company. The tour he was hired for was canceled, however, and he returned to Denver. In 1897 he rejoined Morrison's company, where he plied his trade as a thespian and stage manager for three years. He left to enter the vaudeville circuit as a performer and writer, then in 1902 joined the Spooner Stock Company as an actor, stage manager and writer. In May 1907 he was hired by Edison Co. director Edwin S. Porter specifically to direct The Nine Lives of a Cat (1907), so arguably he WAS the first professional movie director in the US. Dawley based his claim on the assertion that until he was hired by Porter, "The cameraman was in full charge." Dawley oversaw acting and dramatic continuity rather than just supervising action sequences shot by the cameraman.
At Edison he directed D.W. Griffith in his film acting debut in Rescued from an Eagle's Nest (1908), as a woodsman who saves his child from the clutches of an eagle. The film features some of the earliest special effects, as the eagle is a stuffed bird with movable wings (the creature seems to puzzle rather than scare his captive, the child who will be wrestled away from the clutches of this taxidermist's nightmare by the man who would soon achieve fame as the father of the narrative film). While primitive, the special effect proved potent with nickelodeon audiences. In 1910 Dawley moved to California to establish a West Coast presence for the Edison Co. On the way West, he took a camera and photographed Canada as he made his trip to California via train. In southern Caliiforni, he established a studio in Long Beach, attracted by the cheap land and sunny seaside climate. Building a facility downtown at the corner of what is now Sixth St. and Alamitos Ave., he named it Balboa Studio after Spanish conquistador and explorer Vasco Nunez de Balboa. Dawley's new studio employed Henry King and William Desmond Taylor as directors. Eventually, Balboa's facilities consisted of 20 buildings on eight acres, plus an outdoor shooting area of 11 acres in Signal Hill, a separate town within the Long Beach city limits. Reportedly he directed over 200 one-reel films at the Edison company. Among the more notable of these include the first adaptations of Frankenstein (1910) and The Charge of the Light Brigade (1912).
When Porter signed on with Adolph Zukor's Famous Players in 1912, he again hired Dawley. Starting with Tess of the D'Urbervilles (1913) Dawley directed 14 pictures for Famous Players, then he left to start his own company, Dyreda, in 1913. Dyreda was bought out by Metro Pictures after being in existence for slightly more than a year. Dawley's Always in the Way (1915), starring "Sweet Young Thing" specialist Mary Miles Minter (who would one day be implicated in the scandal surrounding the murder of director William Desmond Taylor), was released by Metro. Dawley then returned to Famous Players-Lasky (which increasingly became known by the name of its distribution arm, Paramount Pictures Corp.). He directed the first full-length (six reels) live-action version of Snow White (1916) for Famous Players-Lasky (Paramount Pictures Corp.), starring Marguerite Clark as Snow White. As a boy, Walt Disney would see and be influenced by the film. Dawley also directed a version of Uncle Tom's Cabin (1918).
He left Paramount in 1918 to get married and freelanced for several years before joining Fox Films in 1921. The last feature he directed was Broadway Broke (1923), which was released by Lewis J. Selznick's Selznick Distributing Corp. His final work commanding from behind the camera were two sound shorts for Lee De Forest, Abraham Lincoln (1924) and Love's Old Sweet Song (1923), which were released in 1924.
After retiring from the movie industry, Dawley tried several lines of work before making a new career in radio from the late 1920s through the mid-1930s. One of Dawley's lasting legacies was his role in forming an organization for directors that eventually would morph into the Directors Guild of America. According to Dawley, eight Hollywood directors "met secretly one night in a mountain resort" to discuss the creation of an organization for directors to promote their interests in an industry dominated by producers and to do something about the "decadence" that already was rampant. The eight directors were interested in cleaning up the industry and putting an end to the sexual exploitation of "girls who have ambitions but [are] weak on the side of resisting flattering offers by certain executives." The directors were offended because "directors were often forced to use girls in their casts whose only qualification" was being the producer's girlfriend . . . This sort of thing had to stop, and eight directors decided to do something about it." The June 1, 1918, issue of "The Exhibitor's Trade Review" contained an article in which Charles Giblyn claimed he was at the first meeting as "nine" directors, and that the turnout was limited because of a driving rain. The meeting was held because "envy and malice" had engendered "a wave of slander" directed against the movie industry that threatened its viability, as the studios were under investigation. Considered "cesspools" and "habitats of criminals and vagrants" by the public and the Establishment, one studio already was under investigation by the Los Angeles district attorney. Apart from their moral concerns, Giblyn said the group was interested in promoting camaraderie amongst directors and removing competition between directors at rival studios. Before they came together, directors did all they could to impede the shoots of other directors, particularly by claiming rights to shooting locations. Dawley became the "Scenarist," with the job of secretary, of the fraternal organization that resulted from that meeting. The Motion Picture Directors Association (MPDA), which was neither a union or a guild, was incorporated in Los Angeles on 6/18/1915 as a nonprofit social organization to "maintain the honor and dignity of the profession of motion picture directors." Other aims of the MPDA, according to the articles of organization, were to promote the motion picture as a vehicle for uplifting the morals and "social and intellectual standing of all persons connected with the motion picture producing business," and to promote "social intercourse among its members." Like most fraternal organizations, the MPDA pledged itself to aiding and assisting "all worthy distressed members of this association, their wives, widows and orphans." In addition to Dawley, 25 other members were listed on the articles. On 11/14/1916 , a New York chapter was created for directors on the East Coast, which was still the center of motion picture production in the US. Allan Dwan was elected "Director" or president on 1/2/1917. The bylaws of the MPDA were modeled after those of the Masons, and their rising sun logo was adopted by the MPDA. Dawley wrote that both branches helped foster an atmosphere of cooperation, and during World War One the MPDA helped finance funerals for members killed during the war. In the 1/17/1917 issue of "Motography," the MPDA was described as being motivated by self-protection rather than having an aggressive stance towards producers. "Wid's Yearbook" of 1920-21 stated that the MPDA provided movie directors with a forum for new ideas and saw itself as an organization that could improve conditions and lobby for directors. As an entity that distinctly recognized directors, the MPDA promoted their profession in an era when cameramen were still considered mechanics. Ater the April 1917 declaration of war against Germany, the MPDA decided to speaking for movie directors with one voice, sending President Woodrow Wilson a telegram pledging its "loyalty and allegiance in this hour of national peril." The MPDA offered its services to help win the war effort by using the movies as a propaganda vehicle; the New York chapter voted to help the federal government with military recruiting via the medium of the movies. The MPDA's annual ball, held to raise money for disabled veterans and medical care for motion picture personnel, became THE social event of the year in Hollywood. In 1921 the MPDA made plans to build a $200,000 four-story building on Highland Ave. to serve as its lodge, but the plans were never realized. William Desmond Taylor became MPDA Director/President in 1919. Before becoming Director, he had been the MPDA's most outspoken and passionate member. He proved a dynamic leader, working hard on matters affecting directors such as censorship, runaway production and the producers' promotion of technology over meaningful content. He was also concerned with improving conditions for other members of the industry. Taylor promoted cooperation among other industry fraternal organizations, such as the Assistant Directors Association. In a letter lobbying the ADA, Taylor called for a "Central Committee of Western Motion Picture Organizations...for the purpose of protecting ourselves from all enemies and furthering our common interests." Public outcry over Hollywood's decadence and "objectionable" content in movies had led to calls for state and local censorship of motion pictures, and there was also a national movement to ban the showing of movies on the Sabbath (Boston already banned certain movies from being shown on Sunday). The MPDA was prepared to fight "legislative menaces of censorship and so-called Blue Laws." Film distributor W.W. Hodkinson, one of the founders of Paramount Pictures Corp., was invited by Taylor to address the MPDA. Appearing at an MPDA meeting on Feb. 24, 1921, Hodkinson called for self-censorship to forestall efforts to have content restrictions imposed by local and state governments. Hodkinson told the directors that their "influence is more potent than that of the schoolteacher" and urged them to uphold "certain standards of cleanliness and decency . . . that you want to preserve in your home and in society generally." Taylor became the vice chairman of the Affiliated Picture Interests (API), an organization that embraced members from all sectors of the industry, which intended to become a political lobby for members of the motion picture industry. API members launched a voter registration drive people to vote and lobbied the Los Angeles Cty Council to repeal censorship. The industry had faced fierce foreign competition in the early days, and as the industry became more settled, producers began moving production abroad in order to reduce their costs. Taylor was opposed to runaway production as it hurt the people who made their living in the domestic industry. In his capacity as MPDA Director, he lobbied the Senate Finance Committee to help end the practice, sending a telegram at the end of January 1922. On February 1, 1922, William Desmond Taylor was shot to death at his Los Angeles home. The MPDA arranged the funeral, which was attended by an estimated 10,000 mourners, the biggest crowd to turn out for a private citizen in Los Angeles history up until that time. Taylor was succeed as Director of the Hollywood Branch by David Hartford, who in turn was followed by Fred Niblo, Roy Clements, William Beaudine, John Ford, Reginald Barker and Henry Otto. Republican politician Will Hays, President Warren G. Harding's Postmaster General, who came from a notoriously corrupt administration but nonetheless had a reputation as a reformer, was appointed movie industry czar in 1922. As head of the Motion Picture Producers and Distributors of America, the man who called directors "the key men of the industry" would become the front-man for the industry's efforts at self-censorship and governmental lobbying. On March 16, 1922, Hays addressed the MPDA's New York chapter at a dinner held at the Astor Hotel. The dinner was attended by 1,100 people, including William Randolph Hearst, Actors Equity President John Emerson (who wanted to organize movie industry actors), and Famous Players-Lasky boss Adolph Zukor. Hays reminded the movie-makers in the audience that they had a great potential to influence public morals and education, and thus their responsibility was great. By 1924 the MPDA had approximately 100 members in Hollywood and 40 in New York. It began publishing a plush monthly periodical called "The Director" that year, which was renamed "The Motion Picture Director" a year later. The lavish monthly featured book reviews, short fiction, and serialized novels, but mostly, it existed to promote a sense of unity among the MPDA membership. Articles addressed issues concerning directors, promoted networking column, and even included editorials. Metro-Goldwyn-Mayer sachem Louis B. Mayer, the man who eventually would indirectly cause the MPDA's demise, published an article in the magazine called "The Importance of the Director." Directors wrote articles, such as Albert S. Rogell's denouncing producers for limiting directors to a single genre. The periodical stopped publication in 1927, as the strength of the MPDA waned. John Ford served as MPDA Director in 1927, the year that Louis B. Mayer had the idea of creating the Academy of Motion Picture Arts & Sciences to serve as a company union in order to forestall unionization in the industry. AMPAS originally had five branches, including one for directors, which served as a clearinghouse for directors' concerns and served as the directors' arbiter with the studios. With much of its raison d'etre usurped by AMPAS, and lacking a dynamic William Desmond Taylor-like figure to take it in other directions such as politics, lobbying, or creating an industry-wide union, the MPDA underwent a precipitous decline. By 1930, there were few members left, and by 1931 there were no members at all in Hollywood and only a few in the New York branch. J. Searle Dawley blamed the producers for killing off the MPDA. He claimed that the directors had secured capital from a San Francisco bank to finance their own production companies. The move into independent production was opposed by the studios, and at a powwow between top producers and members of the MPDA's Hollywood branch, the directors were threatened with "being blacklisted from the industry forever should they go through with the plan." Because of the threat, Dawley wrote, "today the MPDA is dead as a doornail." While AMPAS initially gave movie directors some clout in the industry, with the coming of the Depression, the major studios used AMPAS as Louis B. Mayer had intended: a company union. AMPAS helped implement across-the-board wage cuts and layoffs, and its use by the producers to advance their interests led eventually to the screenwriters (always the most radical part of the industry) founding the first craft union, the Screen Writers Guild. The directors followed shortly thereafter, when 12 directors, including five former MPDA members, met at former MPDA member King Vidor's house to form the Screen Directors Guild on December 23, 1935, The other four MPDA members who founded the SDG were Frank Borzage, John Ford, Henry King and Rowland V. Lee. The SDG was incorporated on January 16, 1936, and the ranks of the SDG soon swelled to 40. All resigned from AMPAS. Ford later said, "All of us in that room realized the need to band together to protect the integrity of motion picture direction." It was a sentiment found in the Articles of Incorporation of the MPDA, and a sentiment shared by J. Searle Dawley, the self-described "first" professional movie director.- Myra Keaton was born on 13 March 1877 in Modale, Iowa, USA. She was an actress, known for Love Nest on Wheels (1937), The Brain Busters (1936) and Palooka from Paducah (1935). She was married to Joe Keaton. She died on 21 July 1955 in Los Angeles, California, USA.
- Actor
- Additional Crew
George Atkinson was born on 15 December 1877 in Liverpool, England, UK. He was an actor, known for Racing for Life (1924), The Conquering Power (1921) and Times Have Changed (1923). He died on 1 May 1968 in Woodland Hills, Los Angeles, California, USA.- Jules Cowles was born on 18 October 1877 in Farmington, Connecticut, USA. He was an actor, known for The Scarlet Letter (1926), The Ne'er-Do-Well (1923) and One Hysterical Night (1929). He died on 22 May 1943 in Hollywood, California, USA.
- Lionel Pape was born on 17 April 1877 in Sussex, England, UK. He was an actor, known for The Philadelphia Story (1940), Raffles (1939) and How Green Was My Valley (1941). He died on 21 October 1944 in Woodland Hills, Los Angeles, California, USA.
- Charlotte Lysès was born on 17 May 1877 in Paris, France. She was an actress, known for La dame de chez Maxim's (1933), Quartier sans soleil (1939) and Chipée (1938). She was married to Sacha Guitry. She died on 7 April 1956 in Saint-Jean-Cap-Ferrat, Alpes-Maritimes, France.
- Attended Horace Mann school in San Jose. Once belonged to a bicycle club there, known as the Garden City Wheelmen. His nickname in those days was "Spike", but thanks to the fame garnered from playing the comic strip character in the silent Universal short subject series, he would let himself be known as "Andy Gump". (San Jose Evening News, 25 April 1928)
- Fanny Schreck was born on 15 July 1877 in Ulm, Kingdom of Württemberg [now Baden-Württemberg], Germany. She was an actress, known for The Hunter of Fall (1936), Die Talfahrt des Severin Hoyey (1922) and The Girl from the Marsh Croft (1935). She was married to Max Schreck. She died on 11 December 1951 in Söflingen, Ulm, Baden-Württemberg, Germany.
- Robert A. Sanborn was born on 3 November 1877 in the USA. Robert A. is known for The Changing Woman (1918), The White Feather (1913) and The Little House in the Valley (1914).
- Hayden Stevenson was born on 2 July 1877 in Georgetown, Kentucky, USA. He was an actor, known for The Abysmal Brute (1923), Blake of Scotland Yard (1927) and Let's Go (1922). He was married to Louise J. Stevenson. He died on 31 January 1952 in West Los Angeles, California, USA.
- Writer
- Director
- Producer
Stanner Edward Varley Taylor (1874-1948) was a newspaper man who borrowed a typewriter at the New York Herald to write plays, while the rest of the city slept. His plays impressed the owner of the American Mutoscope & Biography Co. and in 1908 he was hired to write stories for the new moving pictures. The next two years Taylor wrote 85% of their pictures including, D.W. Griffith's first film The Adventures of Dollie (1908), the first movie filmed in Hollywood, In Old California (1910), the first interfaith romance A Child of the Ghetto (1910).
Taylor married his leading lady, Marion Leonard, and left Biograph to start their own studio. It was reported that Ms. Leonard's salary was $1,000 per week at a time when no one had heard of Mary Pickford. In 1912 they founded The Monopol Film Company. Taylor expanded to writing, directing and producing and made over 100 films before retiring in 1926. As a silent film pioneer, he was the first director to receive on screen credit (1910), the first screenwriter to work on retainer, the first producer to be pictured in a film advertisement (1913), and his 1913 production of Carmen contained 426 scenes. S.E.V. Taylor created the first quadruple exposure in-camera visual effects shot in Monopol's The Dead Secret (1913) with Marion Leonard playing a dual role.- Director
- Actor
- Writer
Frank Powell was born on 8 May 1877 in Hamilton, Ontario, Canada. He is known for Mrs. Balfame (1917), Princess Romanoff (1915) and The Greater Woman (1917). He was previously married to Jane Miller.- Edwin Wallock, was a stage actor with several "stock" theatre companies in the mid-west. In 1912, he joined the Selig Polyscope Company in Chicago, and moved to Los Angeles with Selig later that year. He continued to act in several early silent film, usually portraying "the heavy" because of his dark complexion and slight build. In the 1920's, he returned to stage work with the Morasco Stock Co. of Los Angeles and the McGroarty "Pagent Plays" in Tijunga.
- Actor
- Writer
Norman MacOwan was born on 2 January 1877 in St. Andrews, Fife, Scotland, UK. He was an actor and writer, known for Kidnapped (1960), The City of the Dead (1960) and BBC Sunday-Night Theatre (1950). He was married to Violet [Ellen] Stephenson (actress). He died on 31 December 1961 in Hastings, East Sussex, England, UK.- Novelist Lloyd C. Douglas was born Doya Cassell Douglas in Columbia City, IN, in 1877. His father was a Lutheran minister. Young Lloyd attended Wittenberg Seminary in Springfield, OH, where he received his education as a minister. After graduating he served as a pastor in a church in Manchester, IN. In 1905--by now married and with two children--he moved to Lancaster, OH, then in 1908 to Washington, DC. From 1911-15 he was chaplain and director of religious work at the University of Illinois. He served as pastor of many churches all over the US over the next 20 years, but in 1933 he retired from the ministry and devoted all his time to writing.
Many of his books, with religious themes, have been turned into successful films, the best example probably being "The Robe", which was published in 1942 and sold six million copies. It was turned into a very successful film, The Robe (1953), a huge success that garnered two Academy Awards. His next most famous work would probably be "Magnificent Obsession", written in 1929 and filmed, with great success, as Magnificent Obsession (1954) in 1954.
His last novel, "The Big Fisherman" (1948), focused in Jesus, Peter and a young couple, Esther and Voldi, in Palestine. He began his autobiography, "Time to Remember", but died before he finished it. His daughters Virginia and Betty finished it, titling the work "The Shape of Sunday".
He died in Los Angeles, CA, in 1951. - Paul Irving was born on 24 August 1877 in Boston, Massachusetts, USA. He was an actor, known for The Count of Monte Cristo (1934), Battle of Broadway (1938) and The Night of January 16th (1941). He died on 8 May 1959 in Hollywood, California, USA.
- Dora Baker was born on 13 February 1877 in Baltimore, Maryland, USA. She was an actress, known for Rough Going (1925) and Riding to Fame (1927). She died on 4 October 1956 in Los Angeles County, California, USA.
- Composer
- Music Department
- Soundtrack
Mykola Dmytrovych Leontovych was born on 13 December 1877 in Monastyrok, Podolia, Russian Empire [now Monastyrok, Vinnytsia Raion, Vinnytsia Oblast, Ukraine]. Mykola Dmytrovych was a composer, known for Die Hard 2 (1990), The Killing of a Sacred Deer (2017) and C.R.A.Z.Y. (2005). Mykola Dmytrovych died on 23 January 1921 in Markivka, Podolian Governorate, Ukrainian SSR [now Markivka, Haisin Raion, Vinnytsia Oblast, Ukraine].- May Wallace was born on 23 August 1877 in Russiaville, Indiana, USA. She was an actress, known for Beginner's Luck (1935), The Cup of Life (1921) and What's Your Racket? (1934). She was married to Thomas W. Maddox. She died on 11 December 1938 in Los Angeles, California, USA.
- Edgar Evans Cayce was born on 18 March 1877 in Hopkinsville, Kentucky, USA. He died on 3 January 1945 in Virginia Beach, Virginia, USA.
- Director
- Actor
- Writer
Director, actor and script-writer. He completed his education in his place of birth and Kolozsvár (now Cluj, Romania). He was a popular character actor of dramatic plays. From 1911 he was temporarily a cinema managing director in Debrecen, from 1913 he made movies. He wrote scripts and directed films since 1915. Director of Star, later leading director. In the twenties first he worked for Egyetértés company, later became free-lance (Deésy-film). For five years he shot in Vienna as Alfred Kempf Dezsi. His most famous work from this period is Sacco und Vanzetti (1927), which was banned in Hungary. He returned in 1931. He produced a thematic variety of Gorkij's Éjjeli menedékhely with the title Radmirov Katalin (1918). He was a significant, fertile artistic personality of the era of silent film. In the days of the sound picture he - among others - filmed an adaptation of Zsigmond Móricz's novel I Can't Live Without Music (1935), stressing mostly the elements of entertainment. After the liberation he stood in front of the camera again and his characteristic profile appeared in several episodic roles of Hungarian films. He also composed music. In 1909 in Nagyvárad (Oradea) his musical play based on the script of Gyula Juhász, Atalanta was presented. His diary was left behind in manuscript.- Director
- Actor
- Camera and Electrical Department
Chance Ward was born on 16 September 1877 in Dayton, Ohio, USA. He was a director and actor, known for The Bat Whispers (1930), Ham the Detective (1915) and Lotta Coin's Gold (1915). He was married to Lucille Ward. He died on 2 September 1949 in Los Angeles County, California, USA.- Landers Stevens was born on 17 February 1877 in San Francisco, California, USA. He was an actor, known for Bill Cracks Down (1937), Wild Honey (1922) and Hell Divers (1931). He was married to Georgie Cooper and Fannie Gillette. He died on 19 December 1940 in Hollywood, Los Angeles, California, USA.