Lovely Ladies of Golden Age Cinema
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Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with Meryl Streep and Frances McDormand, all three of them second only to Katharine Hepburn.
Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.
The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (1932) in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was The Count of the Old Town (1935), where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in Intermezzo (1936) as Anita Hoffman. Luckily for her, American producer David O. Selznick saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, Intermezzo (1939), reprising her original role. The film was a hit and so was Ingrid.
Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film Only One Night (1939) in 1939 and June Night (1940) in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic Casablanca (1942) opposite Humphrey Bogart.
Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in For Whom the Bell Tolls (1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (1944) the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in Spellbound (1945), Saratoga Trunk (1945) and The Bells of St. Mary's (1945), for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for Joan of Arc (1948). In 1949 she went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, Pia Lindström. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini, who became an outstanding actress in her own right, as did Pia.
Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in Anastasia (1956), which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's Autumn Sonata (1978) she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series A Woman Called Golda (1982), a film about Israeli prime minister Golda Meir. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.
Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.- Actress
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Canadian-born Fay Wray was brought up in Los Angeles and entered films at an early age. She was barely in her teens when she started working as an extra. She began her career as a heroine in westerns at Universal during the silent era. In 1926 the Western Association of Motion Picture Advertisers selected 13 young starlets it deemed most likely to succeed in pictures. Fay was chosen as one of these starlets, along with Janet Gaynor and Mary Astor. Fame would indeed come to Fay when she played another heroine in Erich von Stroheim's The Wedding March (1928). She continued playing leads in a number of films, such as the good-bad girl in Thunderbolt (1929). By the early 1930s she was at Paramount working with Gary Cooper and Jack Holt in a number of average films, such as Master of Men (1933). She also appeared in such horror films as Doctor X (1932) and The Vampire Bat (1933). In 1933 Fay was approached by producer Merian C. Cooper, who told her that he had a part for her in a picture in which she would be working with a tall, dark leading man. What he didn't tell her was that her "tall, dark leading man" was a giant gorilla, and the picture turned out to be the classic King Kong (1933). Perhaps no one in the history of pictures could scream more dramatically than Fay, and she really put on a show in "Kong". Her character provided a combination of sex appeal, vulnerability and lung capacity as she was stalked by the giant beast all the way to the top of the Empire State Building. That was as far as Fay would rise, however, as this was, after all, just another horror movie. After "Kong", she began a slow decline that put her into low-budget action films by the mid '30s. In 1939 her 11-year marriage to screenwriter John Monk Saunders ended in divorce, and her career was almost finished. In 1942 she remarried and retired from the screen, forever to be remembered as the "beauty who killed the beast" in "King Kong". However, in 1953 she made a comeback, playing mature character roles, and also appeared on television as Catherine, Natalie Wood's mother, in The Pride of the Family (1953). She continued to appear in films until 1958 and television into the 1960s.- Actress
This Universal-International player had the beauty, brains and talent to go the distance, only to surprise herself by choosing marriage and family over her career. Now remembered more for her charitable work than her Hollywood roles, pretty and wholesome blonde Peggy Dow was christened Peggy Josephine Varnadow on March 18, 1928, in Columbia, Mississippi. She has clarified that Peggy is not a derivative of Margaret or any other forename. Her father, a businessman, moved about quite a bit but the family subsequently settled in Louisiana, where she attended college (both Louisiana State and Northwestern State University), majoring in drama and appearing in several college plays.
After brief modeling and radio experience, she was spotted by a talent agent and cast in a TV show in February 1949. Shortly after that exposure, Universal offered her a seven-year contract. Bypassing the starlet bit-part route, she made an auspicious film debut co-starring with Scott Brady in the thriller Undertow (1949), in which she played a vacationing schoolteacher who accidentally gets involved in a murder. Her second film (which she actually made first but was released later), Woman in Hiding (1950), was also a crime thriller, co-starring Ida Lupino and Stephen McNally. Showing clearly that she was up to the task of playing love interests with depth and range, Peggy's star began to ascend with these two modest efforts. She hit her peak when she co-starred as the lovely nurse in the classic James Stewart farce Harvey (1950) and appeared opposite Arthur Kennedy in the touching war drama Bright Victory (1951), the story of a soldier who is blinded and must learn to readjust to civilian life. These two different roles showed Hollywood that Peggy could handle comedy and drama with equal finesse.
Following a couple of more "B" pictures, Peggy suddenly retired after only three years in the business to marry Walter Helmerich in 1951. A non-professional whose career was in oil drilling, Helmerich and Peggy relocated to Tulsa, Oklahoma, where they raised five sons in the process.- Actress
- Soundtrack
Priscilla Lane attended the Eagin School of Dramatic Arts in New York before she began touring with her sisters in the Fred Waring and the Pennsylvanians Dance Band. She was a popular singer with her sisters and, after 5 years, she was signed to a Hollywood contract with Warner Brothers in 1937. Her first film was Varsity Show (1937) where she had the hard task of portraying a singer with the Fred Waring Band. Priscilla was to play the nice girl against the temperamental star played by her sister Rosemary Lane. Over the years, Priscilla would play an assortment of girlfriends, daughters and fiancees. She would team with her two sisters, Rosemary Lane and Lola Lane, to make a series of dramas beginning with the film Four Daughters (1938). That film would be the one that made John Garfield a star. In most of her films, all Priscilla had to do was to look attractive and give a good supporting performance. Priscilla would also co-star with Wayne Morris in three 1938 releases. In The Roaring Twenties (1939), she would play the girlfriend of James Cagney. In Arsenic and Old Lace (1944), which was released 3 years after it was filmed, she would play the fiancee of Cary Grant. When Alfred Hitchcock was unable to get Barbara Stanwyck, he cast Priscilla in Saboteur (1942) where she was on the run with the hero. By that time, her movie career was almost finished and she would appear in just a couple of films over the next five years before retiring in 1948.- The actress was born Marilyn Watts in Santa Monica, California, 17 years before she put her foot on the bottom step of the show biz ladder, dancing in the back row of the chorus in "Earl Carroll's Revue" at the famed showman's theater-restaurant in Hollywood. Modeling for photographers led to wider exposure and ultimately to TV roles and bit parts in low-budget movies. As a Universal-International contract player, she was in most every type of B picture that the studio made. She gave up acting in the early '60s to concentrate on marriage and motherhood during 17 tumultuous years as the wife of actor Richard Long. Since his 1974 death, she's played supporting parts in her friend Clint Eastwood's movies, just as he played a supporting role in one of hers (Tarantula (1955)).
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Diana Dors was born Diana Mary Fluck on October 23, 1931 in Swindon, Wiltshire, England. She and her mother both nearly died from the traumatic birth. Because of the trauma, her mother lavished on Diana anything and everything she wanted--clothes, toys and dance lessons were the order of the day. Diana's love of films began when her mother took her to the local movies theaters. The actresses on the screen caught Diana's attention and she said, herself, that from the age of three she wanted to be an actress. She was educated in the finest private schools, much to the chagrin of her father (apparently he thought private education was a waste of money). Physically, Diana grew up fast. At age 12, she looked and acted much older than what she was. Much of this was due to the actresses she studied on the silver screen and Diana trying to emulate them. She wanted nothing more than to go to the United States and Hollywood to have a chance to make her place in film history. After placing well in a local beauty contest, Diana was offered a role in a thespian group (she was 13).
The following year, Diana enrolled at the London Academy of Music and Dramatic Art (LAMDA) to hone her acting skills. She was the youngest in her class. Her first fling at the camera was in The Shop at Sly Corner (1947). She did not care that it was a small, uncredited role; she was on film and at age 16, that's all that mattered. That was quickly followed by Dancing with Crime (1947), which consisted of nothing more than a walk-on role. Up until this time, Diana had pretended to be 17 years old (if producers had known her true age, they probably would not have let her test for the role). However, since she looked and acted older, this was no problem. Diana's future dawned bright in 1948, and she appeared in no less than six films. Some were uncredited, but some had some meat to the roles. The best of the lot was the role of Charlotte in the classic Oliver Twist (1948). Throughout the 1950s, she appeared in more films and became more popular in Britain. Diana was a pleasant version of Marilyn Monroe, who had taken the United States by storm. Britain now had its own version.
Diana continued to play sexy sirens and kept seats in British theaters filled. She really came into her own as an actress. She was more than a woman who exuded her sexy side, she was a very fine actress as her films showed. As the 1960s turned into the 1970s, she began to play more mature roles with an effectiveness that was hard to match. Films such as Craze (1974), Swedish Wildcats (1972), The Amorous Milkman (1975) and Three for All (1975) helped fill out her resume. After filming Steaming (1985), Diana was diagnosed with cancer, which was too much for her to overcome. The British were saddened when word came of her death at age 52 on May 4, 1984 in Windsor, Berkshire, England.- Actress
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Betty May Adams was the daughter of a travelling Iowa cotton buyer with a penchant for alcohol. Growing up in Arkansas, Betty expressed an early interest in acting and made her performing debut in a third grade play of "Hansel and Gretel." Beautiful, talented and determined, the freshly minted 'Miss Little Rock' left home at the age of 19 to live with her aunt and uncle in California. For three days a week she made ends meet working as a secretary. The remainder of her time was spent taking speech and drama lessons (in due course losing her Southern twang) and making the rounds of the various Hollywood casting departments. Her first screen role was (appropriately) as a starlet in Paramount's Red, Hot and Blue (1949). This was followed by an inauspicious leading role in the B-grade Western The Dalton Gang (1949). Over a period of five weeks she appeared in six further quota quickies of the sagebrush variety for Poverty Row outfit Lippert Productions. Since Lippert owned no actual studio facilities, most of the filming took place at the Ray Corrigan ranch in Chatsworth, California. In the summer of 1950, Betty assisted in a screen test for Detroit Lions football star Leon Hart at Universal-International. While Hart's movie career ended up stillborn, Betty clicked with producers who opted to change her first name to 'Julia.' The initial outing for her new studio was entitled Bright Victory (1951), with the budding actress a little underemployed as 'the other girl' in a love triangle involving a blind war veteran (played by Arthur Kennedy). Her career was significantly better served in her next assignment as co-star opposite James Stewart in Anthony Mann's seminal Technicolor western Bend of the River (1952) (Kennedy this time cast as the arch villain). Adams later recalled her part in this film as "a great learning experience" and one of her "fondest Hollywood memories," It also led to a life long friendship with Jimmy Stewart.
Signed to a seven-year contract (and having her legs insured by Universal to the tune of $125,000 by Lloyds of London), Julia seemed destined to remain perpetually typecast as a western heroine. A comely actress with soft, classical features, she often gave affecting performances in what amounted to little more than bread-and-butter pictures. At the very least, she got to play romantic leads opposite some of Universal's top box-office earners: Rock Hudson (in Horizons West (1952) and The Lawless Breed (1952)), Tyrone Power(The Mississippi Gambler (1953)) and Glenn Ford (The Man from the Alamo (1953)). Having played a succession of 'nice girls,' Julia took a turn as leader of an outlaw gang in Wings of the Hawk (1953), set against the background of the Mexican Revolution (Van Heflin was first-billed as a mining engineer, who, having his gold mine taken over by Federales, joins Julia's band of 'insurrectos'). 'Miss Melon Patch' of 1953 was about to experience another important career change, being famously cast as the imperilled heroine Kay Lawrence in Jack Arnolds cultish monster flic Creature from the Black Lagoon (1954), a role Adams initially considered turning down. Shot in 3-D on a shoestring budget, the picture was light on script but strong on atmosphere and proved once again that style can succeed over content. The not inconsiderable physical charms of Miss Adams often dominated the scenery and gave the 'Gill Man' a run for his money. Audiences approved and 'Creature' spawned two further sequels, alas without Julia and with diminishing returns.
In 1955, having generated strong box office heat, Julia changed her moniker (with studio approval) to the less gentle-sounding Julie. Accordingly, she was now offered more varied material ranging from tough melodramas, to comedies and lightweight romances. Adams further established her credentials with roles which included a soft porn model who survives a plane crash in the Colorado Rockies in The Looters (1955); as a cop's wife in Six Bridges to Cross (1955) (a crime drama based on Boston's Great Brinks Robbery); a sympathetic school's doctor in the family-oriented comedy The Private War of Major Benson (1955) and as the wife of an assistant D.A. fighting gangland on the New York waterfront in Slaughter on 10th Avenue (1957). After 1957, her contract with Universal having expired, Adams successfully transitioned into television where she remained a firm favorite in westerns and crime dramas, guest-starring in just about every classic prime-time series covering both genres (Perry Mason (1957) being her personal favorite). Latterly, she had a popular recurring role as real estate lady Eve Simpson in Murder, She Wrote (1984). Adams was still in demand for occasional screen appearances well into her 90s.
She was married twice: first, to writer-producer Leonard Stern, and, secondly, to the actor Ray Danton. Julie Adams passed away in Los Angeles on February 3, 2019 at the age of 92. Her autobiography (co-written with her son Mitchell Danton), entitled "The Lucky Southern Star: Reflections from the Black Lagoon" appeared in 2011.- Actress
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Irene Marie Dunne was born on December 20, 1898, in Louisville, Kentucky. She was the daughter of Joseph Dunne, who inspected steamships, and Adelaide Henry, a musician who prompted Irene in the arts. Her first production was in Louisville when she appeared in "A Midsummer Night's Dream" at the age of five. Her "debut" set the tone for a fabulous career. Following the tragic death of her father when she was 12, she moved with her remaining family to the picturesque and historic town of Madison, Indiana, to live with her maternal grandparents at 916 W. Second St. During the next few years Irene studied voice and took piano lessons in town. She was able to earn money singing in the Christ Episcopal Church choir on Sundays. After graduating from Madison High School in 1916, she studied until 1917 in a music conservatory in Indianapolis. After that she accepted a teaching post as a music and art instructor in East Chicago, Indiana, just a stone's throw from Chicago. She never made it to the school. While on her way to East Chicago, she saw a newspaper ad in the Indianapolis Star and News for an annual scholarship contest run by the Chicago Music College. Irene won the contest, which enabled her to study there for a year. After that she headed for New York City because it was still the entertainment capital of the world. Her first goal in New York was to add her name to the list of luminaries of the Metropolitan Opera Company. Her audition did her little good, as she was rejected for being too young and inexperienced. She did win the leading role in a road theater company, which was, in turn, followed by numerous plays. During this time she studied at the Chicago Music College, from which she graduated with high honors in 1926. In 1928, Irene met and married a promising young dentist from New York named Francis Dennis Griffin. She remained with Dr. Griffin until his death in 1965.
Irene came to the attention of Hollywood when she performed in "Show Boat" on the East Coast. By 1930 she was under contract to RKO Pictures. Her first film was Leathernecking (1930), which went almost unnoticed. In 1931 she appeared in Cimarron (1931), for which she received the first of five Academy Award nominations. No Other Woman (1933) and Ann Vickers (1933) the same year followed.
In 1936 (due to her comic skits in Show Boat (1936)), she was "persuaded" to star in a comedy, up to that time a medium for which she had small affection. However, Theodora Goes Wild (1936) was an instant hit, almost as popular as the more famous It Happened One Night (1934) from two years before. From this she earned her second Academy Award nomination. Later, in 1937, she was teamed with Cary Grant in The Awful Truth (1937). This helped her garner a third Academy Award nomination. She starred with Grant later in My Favorite Wife (1940) and Penny Serenade (1941).
Her favorite film was Love Affair (1939) with Charles Boyer, a huge hit in a year with so many great films, and a role for which she was again nominated for an Academy Award. Howevever, it was the tear-jerker I Remember Mama (1948) for which she will be best remembered in the role of the loving, self-sacrificing Norwegian mother. She got another nomination for that but again lost. This was the picture in which she should have won the Oscar.
She began to wean herself away from films toward the many charities and public works she championed. Her last major movie was as Polly Baxter in 1952's It Grows on Trees (1952). After that she only appeared as a guest on television. Irene knew enough to quit while she was ahead of the game and this helped keep her legacy intact.
In 1957 she was appointed as a special US delegate to the United Nations during the 12th General Assembly by President Dwight D. Eisenhower, such was her widespread appeal. The remainder of her life was spent on civic causes. She even donated $10,000 to the restoration of the town fountain in her girlhood home of Madison, Indiana, in 1976, even though she had not been there since 1938 when she came home for a visit. She died of heart failure on September 4, 1990, in Los Angeles, California.- Actress
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Jean Parker was born Lois Mae Green in 1915. Her father was Lewis Green, a gunsmith and hunter, and her mother was Pearl Melvina Burch (later known professionally as Mildred Brenner), one of 18 children of a pioneer family that came to Montana from Missouri and Iowa. Jean's maternal grandfather was a Presbyterian minister.
Parker was an accomplished gymnast and dancer, and was adopted by the Spickard family of Pasadena during her formative years when both her father and mother were unemployed during the Great Depression. As Lois Green, she entered a poster-painting contest and won for portraying Father Time. Ida Koverman, assistant to MGM studio chief Louis B. Mayer, heard that a pretty teenage girl had won the contest; she contacted the would-be starlet, and had Mayer offer her an MGM contract.
Parker made several important films in her career, including The Ghost Goes West (1935) with Robert Donat; Sequoia (1934) with Russell Hardie, shot in the Sequoia National Forest near Springville, California; Little Women (1933) with Joan Bennett and Katharine Hepburn; Operator 13 (1934) with Marion Davies; and many other films.
After several successful cross-country trips entertaining injured servicemen during World War II, Parker wed and divorced Curt Grotter of the Braille Institute in Los Angeles; and moved on to New York to star in the play "Loco". She also starred on Broadway in "Burlesque" with Bert Lahr, and in the hit "Born Yesterday", filling in for Judy Holliday. Parker's fourth and last husband, actor Robert Lowery, played opposite her as Brock in the play for a short stint. By this marriage, Parker bore her only child, a son, Robert Lowery Hanks.
Parker died on November 30, 2005 at the Motion Picture Country Home and Hospital in Woodland Hills, California, aged 90, from a stroke. She was survived by her son and two granddaughters, Katie and Nora Hanks.- Actress
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Her father, Donald Cole, was a consulting engineer, and died in 1926 when Kim was only three years old. Her mother, Grace Lind, once performed as a concert pianist. She had one brother who was eight years older than she, and she was educated at Miami Beach High.
According to an in-depth article on Kim Hunter by Joseph Collura in the October 2009 issue of "Classic Images", Kim was quiet and painfully shy as a child and overcame it through the guidance of a local dramatics teacher, a Mrs. Carmine. Included were diction, voice and posture lessons.
She studied at the Actors Studio and her first professional appearance was as "Penny" in "Penny Wise" in Miami in November 1939. Then, she joined a repertory group called "Theatre of Fifteen", but it disbanded in 1942 when WWII took away most of its male members.
She made her Broadway debut performance as "Stella" in "A Streetcar Named Desire" at the Ethel Barrymore Theatre, New York, in December 1947 that was the 1947-1948 season's success and for which she won the Critics Circle and Donaldson awards.
A one-time student of the Pasadena Playhouse, she was appearing in the 1942 production of "Arsenic and Old Lace" when she was discovered by an RKO talent hunter who signed her to a seven-year contract for David O. Selznick's company. Selznick suggested she change her first name to "Kim" and a RKO secretary suggested the last name of "Hunter". A few years later, Irene Mayer Selznick, David's ex-wife by then, recommended Kim for her reprise role of "Stella" in A Streetcar Named Desire (1951), for which she won an Oscar.- Actress
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In addition to being Miss New Orleans in 1931, Dorothy Lamour worked as a Chicago elevator operator; band vocalist for her first husband, band leader Herbie Kaye; and radio performer. In 1936 she donned her soon-to-be-famous sarong for her debut at Paramount, The Jungle Princess (1936), and continued to play female Tarzan-Crusoe-Gauguin-girl-with make-up parts through the war years and beyond. The most famous of these was in the popular Bob Hope/Bing Crosby "Road" pictures - a strange combination of adventure, slapstick, ad-libs and Hollywood inside jokes. Of these she said, "I was the happiest and highest-paid straight woman in the business." As she aged, however, the quality of her films dropped. Among her serious films were Johnny Apollo (1940) and A Medal for Benny (1945).- Actress
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Vibrant, increasingly lovely teen fave Shelley Fabares withstood the test of time by transitioning successfully into adult parts unlike many of her 1960s "teen queen" peers who faded quickly into the memory books. She was born Michele Marie Fabares on January 19, 1944, in sunny Santa Monica, California, the daughter of Elsa Rose (Eyler) and James Alan Fabares. As the niece of singer/comedienne Nanette Fabray, she was indoctrinated early into the show biz life. Tap dancing from age three, she also modeled during her elementary school and began appearing on such TV shows as Captain Midnight (1954) and Annie Oakley (1954) (the latter a recurring role). At age 12, she made her professional film debut in the Rock Hudson/Cornell Borchers tearjerker Never Say Goodbye (1956) as Hudson's daughter, and went on to play kid sister roles in the rock 'n' roll-themed Rock, Pretty Baby! (1956) and its sequel Summer Love (1958) both starring John Saxon.
Teen-idol status came with her coming-of-age role as the ever-wholesome daughter "Mary Stone" on The Donna Reed Show (1958), a part she played for five seasons before embarking on a more grown-up film career. During the run of the classic sitcom, she and TV "brother" Paul Petersen grew so popular that they sprinted to adjoining pop singing celebrity, although both admitted that their vocal talents were limited. Shelley especially enjoyed a #1 Billboard hit with the breathy, sultry-edged "Johnny Angel." The character of "Mary Stone" was gently phased out of the show as her character "left for college."
By this time, Shelley had turned into quite a curvaceous stunner. Her acting mettle hardly tested, she managed to become part of the bikini-clad blonde set with top femme parts in such fun-and-frolic fare as Ride the Wild Surf (1964), Hold On! (1966), which was a vehicle for British singing sensation Peter Noone of Herman's Hermits, and three of Elvis Presley's less-acclaimed vehicles of the later 1960s: Girl Happy (1965), Spinout (1966) and Clambake (1967).
A serious Vietnam-era stream of consciousness began to pervade film audiences in the late 1960s and Shelley's perky innocence that found so much favor during the Camelot years had lost its appeal. After a notoriously dry spell, she bounced back as the altruistic wife of a dying footballer "Brian Piccolo" in Brian's Song (1971), opposite James Caan, and settled comfortably again on the small screen with bright co-star roles on the series The Little People (1972), The Practice (1976), and Highcliffe Manor (1979). A more prickly character than usual, however, reared its head in the late-night soap spoof Forever Fernwood (1977), and this led to the equally malicious, vainglorious role of Bonnie Franklin's business competitor on the already-established hit sitcom One Day at a Time (1975). The show also featured her aunt Nanette Fabray as Franklin's meddling mom. In the late 1980s, Shelley found a fleshier character as Craig T. Nelson's resourceful mate on Coach (1989), earning steady work for eight seasons and two Emmy nominations in the process. A return to film stardom, however, would eclipse her.
Married and separated from record producer Lou Adler during her fun-in-the-sun years of the mid 1960s (they eventually divorced in 1980 after a separation of almost 14 years), Shelley found marital stability with actor/activist Mike Farrell of M*A*S*H (1972) fame, and became stepmother to his two children from a prior marriage. Following her recovery from a home accident that broke several ribs in 1998, Shelley was tested and diagnosed with severe auto-immune hepatitis, which resulted in a liver transplant in 2000. Thankfully, she survived the near-fatal ordeal and has been more heard than seen in recent years. She supplied the voice of "Martha Kent" on the Superman: The Animated Series (1996) animated series but has done little else in the ensuing years.- Actress
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Yvonne Joyce Craig was born on May 16, 1937 in Taylorville, Illinois. As a young teenager, Yvonne showed such promise as a dancer that she was accepted to Denham's Ballet Russe de Monte Carlo. Her training progressed until she left the company in 1957 over a disagreement on casting changes. She moved to Los Angeles hoping to continue her dancing, but was soon cast in movies. At first, Yvonne had small roles in movies such as Gidget (1959) and The Gene Krupa Story (1959). After that, her film career just bumped along. As Yvonne was dating Elvis Presley at the time, she did have a supporting role in the two Elvis movies, It Happened at the World's Fair (1963) and Kissin' Cousins (1964).
But her fame would come with the cult television series Batman (1966) in which she played Commissioner Gordon's daughter, Barbara. Her secret identity was Batgirl and as the Commissioner's daughter, she had access to all the calls of trouble taking place in Gotham City. Her character, Batgirl, was part of the 1967-68 season, which was the end of the run for the series. After Batman (1966), she also appeared on other television series such as Star Trek (1966) and The Six Million Dollar Man (1974). As her career wound down, Yvonne went into the real estate business. Yvonne Craig died at age 78 of breast cancer at her home in Pacific Palisades, California on August 17, 2015.- Actress
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Star of stage in Europe, she became just another "Another Garbo," like Anna Sten and others, whose importation to 1930's Hollywood led to movie stardom nary a whit. Her most often-seen performance is her brief role as the governess to the Empress's very young son in "The Song of Bernadette", who takes what is believed to be miraculous water from the grotto. She eventually went to Eastern Europe and into oblivion.- Actress
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Bright, vivacious Marjorie Reynolds (née Goodspeed) was born in Idaho on August 12, 1917 to a homemaker and a doctor and raised in Los Angeles. She made her film debut at age 6, then "retired" after only a few years to pursue a regular education.
She returned in the mid-1930s as a teenager and began the typical assembly-line route of extra and bit roles for various mega-studios, billed this time as Marjorie Moore. Her first speaking role was in Columbia Studio's Murder in Greenwich Village (1937), this time billed as Marjorie Reynolds; her first husband's last name, this was the moniker she maintained for the duration of her career.
The blonde (originally brunette) actress then went through a rather non-challenging prairie-flower phase opposite Hollywood's top western stars such as Tex Ritter, Buck Jones, Roy Rogers, and Tim Holt. It all paid off, however, when she won the top female role opposite Bing Crosby and Fred Astaire in the seasonal film classic Holiday Inn (1942), a role originally designed for Mary Martin. It remains Marjorie's most popular and cherished role on film, but it did not help her make a permanent transition into 'A' quality fare.
Marjorie continued as a dependable "B" co-lead in such films as Up in Mabel's Room (1944), Meet Me on Broadway (1946), and Heaven Only Knows (1947), with an exciting movie offer such as Fritz Lang's Ministry of Fear (1944) coming her way on a rare occasion.
Along with maturity and a new entertainment medium (television) in the 1950s came a return to her natural hair color. As William Bendix's patient, resourceful brunette wife on the comedy TV series The Life of Riley (1953), Marjorie became a semi-household name. Her career took a steep decline following its demise five years later and she was only sporadically seen in films, commercials, and TV guest spots after that.
She was married twice. Her first husband was Jack Reynolds, an Assistant Casting Director for Samuel Goldwyn. They had one daughter, Linda, before divorcing in 1952 after 16 years. Her second husband, film editor John Whitney, worked for a time in the 1940s as an actor. They were married for 32 years until his death in 1985.
Long retired, Marjorie died in 1997 of congestive heart failure after collapsing while walking her dog. Though she didn't fully live up to her potential as a serious, formidable actress, her gentle charm and obvious beauty certainly spruced up the 60+ films in which she appeared.- Actress
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Eleanor Jean Parker was born on June 26, 1922, in Cedarville, Ohio, the last of three children born to a mathematics teacher and his wife. Eleanor caught the acting bug early and began performing in school plays. She was was so serious about becoming an actor, that she attended the Rice Summer Theatre on Martha's Vineyard in Massachusetts, beginning when she was 15 years old. She was offered her first screen test by a 20th Century-Fox talent scout while attending Rice, but turned the opportunity down to gain professional stage experience in Cleveland after graduating from high school.
She moved on to California to continue her acting studies at the Pasadena Playhouse. It was there, while sitting in the audience of a play being put on at the Playhouse, that she was again offered a screen test - this time from a Warner Brothers' scout - and again declined, wanting to finish her first year at the Playhouse. When the year was up, Eleanor contacted Warner Brothers to take them up on their offer of a screen test and was signed as a contract player two days after it was shot.
She was cast in Raoul Walsh's They Died with Their Boots On (1941), but her performance was left on the cutting room floor.
She was then cast in short subjects and given other assignments typical of novice film actors, to enable them to learn their craft, such as voice-acting and appearances in other actors' screen tests. Finally, she was promoted to the B-picture unit, making her feature debut in Busses Roar (1942).
Her beauty meant she was not forgotten, and she was cast in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (1943), directed by Michael Curtiz and starring Walter Huston as the U.S. ambassador to the USSR. Eleanor played his daughter in the film, which became notorious in the McCarthy era for its glorification of "Uncle Joe" Stalin. The film proved significant to Eleanor, as she met a future husband on the set, Navy Lieutenant. Fred L. Losse, Navy dentist. The marriage was a brief wartime affair, lasting from March 21, 1943, to December 5, 1944.
She went back to the B's with The Mysterious Doctor (1943), then bounced back to the A-list for Between Two Worlds (1944), a remake of the Leslie Howard vehicle Outward Bound (1930) in which she played Paul Henreid's fiancee (both die from suicide, but in Hollywood logic that didn't mean they couldn't frolic together on the silver screen). Eleanor then made two more B-quickies in 1944, Crime by Night (1944) and The Last Ride (1944), before graduating to the A-list for good with Pride of the Marines (1945) with John Garfield.
In the 1946 Warner Bros. remake of Of Human Bondage (1946), she took the role that Bette Davis had made good in 1934 (ironically, at rival RKO). Though Parker would be gaining kudos and Oscar nominations by the beginning of the next decade, her portrait of Mildred was weak in comparison with Davis's dynamic performance.
Parker received the first of her three Best Actress Oscar nominations for playing a prisoner in Caged (1950), and won the best actress award at the Venice Film Festival. She was also nominated the next year for playing the cop's wife who shared a secret with the neighborhood abortionist in William Wyler's Detective Story (1951). Her third and last Oscar nod came for Interrupted Melody (1955), wherein she played an opera singer struck down by polio. She could easily have been nominated that same year for her portrayal of Frank Sinatra's faux crippled wife in Otto Preminger's brooding masterpiece The Man with the Golden Arm (1955), adapted from the novel by Nelson Algren.
Parker proved herself to be a supremely talented and very versatile lead actress. The versatility was likely one of the reasons she never quite became a major star. Audiences attending a movie starring Parker never knew quite what to expect of her; if they even remembered she was the same actress they had seen before in a different type of role in another picture. Her turns in Detective Story (1951) and The Man with the Golden Arm (1955) could not have been more different. Parker's stardom and subsequent fame (and remembrance) suffered from her focusing on being a serious actress and creating a character who fit the motion picture she was in, rather than playing a character over and over, as most actors do. She probably best remembered for the relatively tame part as the Baroness in The Sound of Music (1965).
She received an Outstanding Lead Actress Emmy nomination in 1963 for her appearance in The Eleventh Hour (1962) episode Why Am I Grown So Cold? Despite the success of The Sound of Music (1965) being completely attributed to #1 box office sensation Julie Andrews, it's probably Parker's best-remembered role.
Her appearances in such fare as The Oscar (1966) (the cast of which the Playboy Magazine reviewer derided as "has-beens and never-will-bes") and the movie adaptation of Norman Mailer's indescribable existential potboiler An American Dream (1966) with fellow Oscar-nominee Stuart Whitman signaled that Miss Parker was now inscribed on the list of the has-beens.
She had one last hurrah, winning a Golden Globe nomination in 1970 as best lead actress for her role in the TV series Bracken's World (1969), but unfortunately times had changed during the tumultuous 1960s. Her last film role was in a Farrah Fawcett bomb, Sunburn (1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (1991).
Eleanor Parker retired far too soon for those who were her fans, and those who appreciated a superb actress.- Actress
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Elsa Sullivan Lanchester was born into an unconventional a family at the turn of the 20th century. Her parents, James "Shamus" Sullivan and Edith "Biddy" Lanchester, were socialists - very active members of the Social Democratic Federation (SDF) in a rather broad sense - and did not believe in the institution of marriage and being tied to any conventions of legality, for that matter. Her mother had actually been committed to an asylum in 1895 by her father and older brothers because of her unmarried state with James. The incident received worldwide press as the "Lanchester Kidnapping Case."
Elsa had a great desire to become a classical dancer and to that end at age 10 her mother enrolled her at the famed Isadora Duncan's Bellevue School in Paris in 1912. But the uncertainties of WW1 brought her home after only two years. At age 12, she was sent to a co-educational boarding school in Kings Langley, Hertfordshire, England, to teach dance classes in exchange for her education and board. In 1918, she was hired as a dance teacher at Margaret Morris's school on the Isle of Wight.
Next to dance, she loved the music halls of the period, so in 1920 she debuted in a music hall act as an Egyptian dancer. About the same time she founded the Children's Theater in Soho, London and taught there for several years. She made her stage debut in 1922 in the West End play "Thirty Minutes in a Street." In 1924 she and her partner, Harold Scott, opened a London nightclub called the Cave of Harmony. They performed one-act plays by Pirandello and Chekhov and sang cabaret songs. She would later collect and record these and many others. The spot was frequented by literati like Aldous Huxley, H.G. Wells and also James Whale, working in London theater and soon to be directing on Broadway and Hollywood's most famous horror films. Lanchester kept busy including, on her own admission, posing nude for artists. During a 1926 comic performance in the Midnight Follies at London's Metropole, a member of the British Royal family walked out as she sang, "Please Sell No More Drink to My Father." She closed her nightclub in 1928 as her film career began in earnest.
Perhaps not beautiful in the more conventional sense, Lanchester was certainly pretty as a young woman with a turned-up nose that gave her a pert, impish expression, all the more striking with her large, expressive dark eyes and full lips. She had a lithe figure that she carried with the assuredness of her dancing background. Her voice was bright and distinctive, and had a delightful rush and trill that had an almost Scottish burr quality. What clicked on stage would do the same in the movies.
Her first film appearance was actually in an amateur movie by friend and author Evelyn Waugh called The Scarlet Woman: An Ecclesiastical Melodrama (1925). Her formal film debut was in the British movie One of the Best (1927). She continued stage work and became associated in 1927 with a rather self-possessed but keenly dedicated actor, Charles Laughton. He appeared with her in three of four films Lanchester did in 1928. (Three of these were written for her by H.G. Wells). They did a few plays as well and wed in 1929. According to Lanchester, after two years, she discovered Laughton was homosexual but they remained married until his death in 1962. Lanchester declared in a 1958 interview that she kept to a separate career path from her husband. They appeared together on occasion, moving through 1931 with several smart play-like films including Potiphar's Wife (1931) with Laurence Olivier. She had done the play "Payment Deferred" in London in 1930 and followed it to Broadway in 1931.
MGM offered her a contract in 1932. In 1933 Alexander Korda was casting his The Private Life of Henry VIII (1933) and decided that Laughton was the perfect choice - and his wife would be just as perfect as one of Henry's six wives. Her versatility pointed to a part with some comedic elements and fitting more into a caricature. She looked most like Hans Holbein's famous portrait of Anne of Cleves (Henry's fourth wife who was actually somewhat more homely than the painter depicted). In costume Lanchester was charming if not striking. Her interpretation of Anne was a perfect integration with herself, and her scene with Laughton informally playing cards on the marriage bed and deciding on annulment is a high point of the movie.
Of course, it would be hard to mention her film career of the 1930s without mentioning the one role that would forever dog her, Bride of Frankenstein (1935). Having come to Hollywood with Laughton in 1932 (but not permanently until 1939), Lanchester did only a few films up to 1935 and was disappointed enough with Hollywood's reception to return to London for a respite. She was quickly called back by an old friend from London, stage and film associate James Whale, now the noted director of Frankenstein (1931) and The Invisible Man (1933). He wanted her for two parts in Bride: author Mary Shelley and the bride. A central joke of the movie build-up was the tag lines: "WHO will be The Bride of Frankenstein? WHO will dare?"
Indeed, it was no honeymoon for her. For some ten days, Lanchester was wrapped in yards of bandage and covered in heavy makeup. The stand-on-end hairdo was accomplished by combing it over a wire mesh cage. Lanchester was in real agony with her eyes kept taped wide open for long takes - and it showed in her looks of horror. Her monster's screaming and hissing sounds (based on the sounds of Regents Park swans in London) were taped and then run backward to spook-up the effect. She was delightfully melodramatic and picturesque as Wollstonecraft, and her bride would become iconic. Many have considered Bride of Frankenstein (1935) the best of the golden age horror movies.
Lanchester stood out in her next movie with Laughton the next year, Korda's dark Rembrandt (1936), but she only did a few more films for the remainder of the decade. Through the 1940s she was doubly busy - a couple of films per year while regenerating her beloved musical revue sketches. She performed for 10 years at the Turnabout Theater in Hollywood, using old London music hall/cabaret songs and others written for her. Later she would have to split her time further doing a similar act at a supper club called The Bar of Music. By the later 1940s she had become rather matronly, and the roles would settle appropriately. But she always lent her sparkle, as with her charming maid Matilda in The Bishop's Wife (1947). She would be nominated for best supporting actress in Come to the Stable (1949).
She entered the 1950s busy with road touring of her nightclub act with pianist J. Raymond Henderson (who went by "Ray" and who is sometimes confused with popular songwriter Ray Henderson). There was a series of tours to complement Laughton's famous reading tours, called Elsa Lanchester's Private Music Hall which ended in 1952; Elsa Lanchester--Herself which ended in 1961; and once more in 1964 at the Ivar Theater. She was equally busy with a stock of film roles and a large share of TV playhouse theater. She made ten movies with Laughton, the last of which, Witness for the Prosecution (1957) garnered her second supporting actress nomination. But her dizzy Aunt Queenie Holroyd of Bell Book and Candle (1958) is a fond remembrance of that time.
With the two decades from the 1960s to early 1980s, Lanchester was a fixture on episodic TV and an institution in Disney and G-rated fare - perhaps a bit ironic for the unconventional Lanchester. She wrote two autobiographies: "Charles Laughton and I" (1938) and "Elsa Lanchester: Herself" (1983), both recalling her nearly 100 roles before the camera. Lanchester remained humorously reflective in regard to her film career, describing it as "...large parts in lousy pictures and small parts in big pictures." It was the mix of silly, bawdy, and outrageous in her revues that was her great joy: "I was content because I was fully aware that I did not like straight acting but preferred performing direct to an audience. You might call what I do vaudeville. Making a joke, especially impromptu, and getting a big laugh is just plain heaven."- Actress
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Born in Santa Cruz, California, Beverly Garland studied dramatics under Anita Arliss, the sister of renowned stage and screen star George Arliss. She acted in a little theater in Glendale then in Phoenix after her family relocated to Arizona. Garland also worked in radio and appeared scantily-clad in a few risqué shorts before making her feature film debut in a supporting part in D.O.A. (1949). Her husbands include actor Richard Garland, and land developer Fillmore Crank, who built 2 hotels which bear her name. Ms. Garland's longest runs were on Scarecrow and Mrs. King (1983) and My Three Sons (1960). Later on she guest-starred on a number of TV shows, including The Guardian (2001), on CBS, and Weakest Link (2001), on NBC, and maintained her continuing roles on 7th Heaven (1996), on the WB (now the CW), and Port Charles (1997), on ABC, which began in the 1990s.
In 1983, Ms. Garland received her star on the Hollywood Walk of Fame. In 2001, in recognition of her 50 years in show business, the Pacific Pioneer Broadcasters inducted her into its Hall of Fame. Ms. Garland has two very significant historical television "firsts": she was television's first policewoman as the star of Decoy (1957), and, more importantly, the series gave her the honor of becoming the first actress to star in a television dramatic series. After her husband of 39 years died in 1999, Beverly continued to operate the 255-room Beverly Garland Holiday Inn in North Hollywood (with the assistance of three of her four children). Beverly Garland died at age 82 in her home in the Hollywood Hills, Los Angeles, California on 5 December, 2008.- Actress
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Demure British beauty Jean Simmons was born January 31, 1929, in Crouch End, London. As a 14-year-old dance student, she was plucked from her school to play Margaret Lockwood's precocious sister in Give Us the Moon (1944). She had a small part as a harpist in the high-profile Caesar and Cleopatra (1945), produced by Gabriel Pascal, starring Vivien Leigh, and co-starring her future husband Stewart Granger. Pascal saw potential in Simmons, and in 1945 he signed her to a seven-year contract to the J. Arthur Rank Organization, and she went on to make a name for herself in such major British productions as Great Expectations (1946) (as the spoiled, selfish Estella), Black Narcissus (1947) (as a sultry native beauty), Hamlet (1948) (playing Ophelia to Laurence Olivier's great Dane and earning a Best Supporting Actress Oscar nomination), The Blue Lagoon (1949) and So Long at the Fair (1950), among others.
In 1950, she married Stewart Granger, and that same year, she moved to Hollywood. While Granger was signed to Metro-Goldwyn-Mayer, Rank sold her contract to Howard Hughes, who then owned RKO Pictures. Hughes was eager to start a sexual relationship with Simmons, but Granger put a stop to his advances. Her first Hollywood film was Androcles and the Lion (1952), produced by Pascal and co-starring Victor Mature. It was followed by Angel Face (1952), directed by Otto Preminger with Robert Mitchum. To further punish Simmons and Granger, Hughes refused to lend her to Paramount, where William Wyler wanted to cast her in the female lead for his film Roman Holiday (1953); the role made a star of Audrey Hepburn. A court case freed Simmons from the contract with Hughes in 1952. They settled out of court; part of the arrangement was that Simmons would do one more film for no additional money. Simmons also agreed to make three more movies under the auspices of RKO, but not actually at that studio - she would be lent out. MGM cast her in the lead of Young Bess (1953) playing a young Queen Elizabeth I with Granger. She went back to RKO to do the extra film under the settlement with Hughes, titled Affair with a Stranger (1953) with Mature; it flopped.
Simmons went over to 20th Century Fox to play the female lead in The Robe (1953), the first CinemaScope movie and an enormous financial success. Less popular was The Actress (1953) at MGM alongside Spencer Tracy, despite superb reviews; it was one of her personal favorites. Fox asked Simmons back for The Egyptian (1954), another epic, but it was not especially popular. She had the lead in Columbia's A Bullet Is Waiting (1954). More popular with moviegoers was Désirée (1954), where Simmons played Désirée Clary to Marlon Brando's Napoleon Bonaparte. Simmons and Granger returned to England to make the thriller Footsteps in the Fog (1955). She then starred in the musical Guys and Dolls (1955) with Brando and Frank Sinatra; she used her own singing voice and earned her first Golden Globe Award. Simmons played the title role in Hilda Crane (1956) at Fox, a commercial failure. So, too, were This Could Be the Night (1957) and Until They Sail (1957), both at MGM. Simmons had a big success, though, in The Big Country (1958), directed by Wyler. She starred in Home Before Dark (1958) at Warner Bros. and This Earth Is Mine (1959) with Rock Hudson at Universal.
Simmons divorced Granger in 1960 and almost immediately married writer-director Richard Brooks, who cast her as Sister Sharon opposite Burt Lancaster in Elmer Gantry (1960), a memorable adaptation of the Sinclair Lewis novel. That same year, she co-starred with Kirk Douglas in Stanley Kubrick's Spartacus (1960) and played a would-be homewrecker opposite Cary Grant in The Grass Is Greener (1960).
Off the screen for a few years, Jean captivated moviegoers with a brilliant performance as the mother in All the Way Home (1963), a literate, tasteful adaptation of James Agee's "A Death in the Family". However, after that, she found quality projects somewhat harder to come by, and took work in Life at the Top (1965), Mister Buddwing (1966), Divorce American Style (1967), Rough Night in Jericho (1967), The Happy Ending (1969) (a Richard Brooks film for which she was again Oscar-nominated, this time as Best Actress).
Jean continued making films well into the 1970s. In the 1980s, she appeared mainly in television miniseries, such as North & South: Book 1, North & South (1985) and The Thorn Birds (1983). She made a comeback to films in 1995 in How to Make an American Quilt (1995) co-starring Winona Ryder and Anne Bancroft, and most recently voiced the elderly Sophie in the English version of Hayao Miyazaki's Howl's Moving Castle (2004). She now resided in Santa Monica, California, with her dog, Mr. Gates, and her two cats, Adisson and Megan. Jean Simmons died of lung cancer on January 22, 2010, nine days before her 81st birthday.- One of four children, lovely Detroit-born actress Doris Dowling (born May 15, 1923) would follow older sister Constance Dowling (who died relatively young in 1969) into show business. Raised in New York City, she briefly spent some time with a San Francisco Folies Bergère company before returning to New York and studying at Hunter College.
Following several years as a singing/dancing Broadway chorine in such musicals as Panama Hattie (debut at age 17), Banjo Eyes, Beat the Band and New Faces of 1943, Doris decided to pattern sister Constance's career formula by relocating to Hollywood and pursue films. After a couple of bit parts, she scored with the second femme role of a barfly, prostitute and enabler to fellow alcoholic Ray Milland in the sobering classic film The Lost Weekend (1945). That movie, which won "Best Picture" and "Best Actor" for Milland, was the first to deal with the harrowing effects of alcoholism. This success led to an equally choice victimy part in the Raymond Chandler film noir The Blue Dahlia (1946) starring Alan Ladd and Veronica Lake as Ladd's ill-fated wife. From there she was relegated to "B"-level post-war films. She co-starred with Kent Taylor in the crime mystery The Crimson Key (1947), but then found herself uncredited a year later in the Bing Crosby musical romancer The Emperor Waltz (1948).
Seeing the writing on the wall, Doris (like sister Constance) decided to move and continue her movie career abroad. With her dark, earthy, exotic-eyed beauty, she complemented several dramas, including a starring role in the Italian classic Bitter Rice (1949) that also starred Vittorio Gassman and made an international sex star out of Silvana Mangano. Filmed entirely in Cuba, she then starred in the minor musical drama Sarumba (1950) playing a singer and love interest to handsome sailor Michael Whalen, followed by a second femme role in the Italian drama Alina (1950) starring rising goddess Gina Lollobrigida. Doris' last starring film was in the romantic adventure Cuori sul mare (1950) (Hearts at Sea) with handsome Jacques Sernas. Before departing Italy, she also played Bianca in Orson Welles' troubled European production of Othello (1951), which was filmed in Italy and Morocco.
Returning to the US by 1952, theater and TV would comprised much of Doris' later work. She appeared on several anthology programs, including "Armstrong Circle Theatre," "Goodyear Playhouse" and "Schlitz Playhouse," and guested on the popular dramatic shows of the day such as "Medic," "Cheyenne," "Richard Diamond, Private Detective," Mike Hammer," "Have Gun--Will Travel," "Checkmate," Shirley Temple's Storybook," "Alfred Hitchcock Presents," "Perry Mason," "The Andy Griffith Show" and "Bonanza," "Barnaby Jones," "The Dukes of Hazzard," and the mini-series "Scruples." She also enjoyed a regular role on the Julie Newmar-hyped female robot sitcom My Living Doll (1964).
In 1973, Doris returned to the stage and shared an Outer Critics Circle award for her performance in the all-star stage production of "The Women" on Broadway. Her final film roles were in The Car (1977) and Separate Ways (1981)
Married three times, she was wife #7 to band leader Artie Shaw, her first husband, with whom she had a son, Jonathan Shaw. Doris died June 18, 2004 at age 81, and was interred at Holy Cross Cemetery in Los Angeles. - Actress
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Born in Denver, Co, 6 August, 1925 and originally named Barbara Jane Bates, Barbara was the eldest of 3 daughters born to a postal clerk and RN.
Rather shy, her mother initially sent Barbara to study ballet. By her late teens, the young beauty began to model clothes as a teen out of high school.
Fighting off a life-long paralyzing shyness,she managed to be persuaded to enter a local beauty contest, with the winner receiving 2 round-trip train tickets to Hollywood.
Barbara won the contest, and with that the demure but very troubled young woman was on the first steps of her career.
Once in California, she met Cecil Coan, a United Artists publicist. Coan, a married man with children who was more than two decades older than Barbara, fell hard for the young beauty. He promised to guide her career and make her a star.
He proved his worth and dedication to her when he left his wife and married Barbara.
Groomed in obscure starlet bits, it wasn't until Warner Bros. signed her in 1947 and perpetuated an appealing girl-next-door image when her career started happening. It took some time before the actress started making strides apart from the bobby-soxxer ingénue.
She turned heads and supported herself initially as a pin-up girl, a job she didn't enjoy. She rose in rank after a number of bit parts and, during her peak as a lead and second lead, appeared opposite a number of stars, including Bette Davis in June Bride (1948), Danny Kaye in The Inspector General (1949), Rory Calhoun in I'd Climb the Highest Mountain (1951), and even Dean Martin & Jerry Lewis in their comedy,The Caddy (1953) just to name a few.
Much of Barbara's work in the above films was routine. Barbara's on-and-off-screen life started unraveling not long afterward. Succumbing to extreme mood shifts, insecurity, ill health and chronic depression to the point of being taken off important film assignments. By age 30, the promise she had once shown was no longer considered, and she and her husband Coen, who made all of Barbara's decisions for her, tried to salvage her career in England.
Things looked promising at first, when she was picked up by the Rank Organisation and co-starred with John Mills and Michael Craig in a couple of dramatic suspense films, but the films were mediocre. She again started showing signs of instability to the point where she was dropped from 2 films and the Rank Organisation was forced to drop her.
The couple returned to Hollywood, where old friend Rory Calhoun cast her in a picture he was producing and starring in called Apache Territory (1958).
Emotionally unable to withstand the pressures of Hollywood any more, Barbara abandoned her career, save for an appearance in The Loaded Tourist (1962),starring Roger Moore.
Nothing was heard of Barbara until her March 1969 death. It was learned she'd returned to her hometown of Denver and worked in various jobs, including stints as a secretary, dental assistant and hospital aide. Her much older husband and chief supporter, Cecil Coan, died of cancer in January 1967, and Barbara fell apart.
Although she remarried in December of 1968 to a childhood friend, sportscaster William Reed, she remained increasingly despondent. She committed suicide just 4 months later. She was found dead in her car by her mother in her mother's garage of carbon monoxide poisoning.
Interestingly, the one role she'll always be identified with is also one of the smallest parts given her during her brief tenure as leading lady.
In the very last scene of All About Eve (1950). Barbara turns up in the role of Phoebe, a devious school girl and wannabe actress who shows startling promise as a future schemer along the lines of her equally ruthless idol, Eve Harrington, superbly played by Anne Baxter.
Barbara's image is enshrined in the picture's very last scene - posing in front of a 3-way mirror while clutching Baxter's just-received acting award. It's this brief, moment for which she'll best be remembered.- Actress
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Actress and singer Ann-Margret is one of the most famous sex symbols and actresses of the 1960s and beyond. She continued her career through the following decades and into the 21st century.
Ann-Margret was born Ann-Margret Olsson in Valsjöbyn, Jämtland County, Sweden, to Anna Regina (Aronsson) and Carl Gustav Olsson, who worked for an electrical company. She came to America at age 6. She studied at Northwestern University and left for Las Vegas to pursue a career as a singer. Ann-Margret was discovered by George Burns and soon afterward got both a record deal at RCA and a film contract at 20th Century Fox. In 1961, her single "I Just Don't Understand" charted in the Top 20 of the Billboard Hot 100 Charts. Her acting debut followed the same year as Bette Davis' daughter in Frank Capra's Pocketful of Miracles (1961). She appeared in the musical State Fair (1962) a year later before her breakthrough in 1963. With Bye Bye Birdie (1963) and Viva Las Vegas (1964) opposite Elvis Presley, she became a Top 10 Box Office star, teen idol and even Golden Globe nominated actress. She was marketed as Hollywood's hottest young star and in the years to come got awarded the infamous nickname "sex kitten." Her following pictures were sometimes ripped apart by critics (Bus Riley's Back in Town (1965) and The Swinger (1966)), sometimes praised (The Cincinnati Kid (1965)). She couldn't escape being typecast because of her great looks. By the late 1960s, her career stalled, and she turned to Italy for new projects. She returned and, by 1970, she was back in the public image with Hollywood films (R.P.M. (1970) opposite Anthony Quinn), Las Vegas sing-and-dance shows and her own television specials. She finally overcame her image with her Oscar-nominated turn in Mike Nichols' Carnal Knowledge (1971) and succeeded in changing her image from sex kitten to respected actress. A near-fatal accident at a Lake Tahoe show in 1972 only momentarily stopped her career. She was again Oscar-nominated in 1975 for Tommy (1975), the rock opera film of the British rock band The Who. Her career continued with successful films throughout the late 1970s and into the 1980s. She starred next to Anthony Hopkins in Magic (1978) and appeared in pictures co-starring Walter Matthau, Gene Hackman, Glenda Jackson and Roy Scheider. She even appeared in a television remake of Tennessee Williams's masterpiece play "A Streetcar Named Desire" in 1983. Another late career highlight for her was Grumpy Old Men (1993) as the object of desire for Jack Lemmon and Walter Matthau. She continues to act in movies today.- Actress
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Jocelyn Lane is one of the most stunningly beautiful, and overlooked, actresses to grace the screen. Born Jocelyn Bolton in Austria to British parents in 1937, she was the younger sister of Mara Lane, who was considered one of the most beautiful models in the UK during the early 1950s. Either because, or in spite of, her glamorous older sister, Jocelyn had established herself as a popular model and cover girl by the time she was 18, using the stage name Jackie Lane. During this period she kept extremely busy as a cover girl, appearing on hundreds of magazine covers around the world. Jackie was not above fibbing about her age; in a 1957 photo pictorial by Russ Meyer in "Modern Man", the 20-year-old Jackie is referred to as "Mara's 18-year-old sister". Soon Mara became yesterday's news and Jackie's extraordinary beauty found her heralded as the "British Bardot". Her movie roles during this period are international, and often confused with those of Jackie Lane, who played Dorothea "Dodo" Chaplet opposite William Hartnell's Doctor Who during part of 1966. Our Jackie moved to Hollywood in the mid-1960s, and began using her birth name, perhaps to avoid confusion with the "other" Jackie Lane who remained in England. There seems to have been some trouble getting the new name to stick. In the October 4, 1964, "Life" magazine, where she was the feature model in the article "The End of [Hollywood's] Great Girl Drought", she is already billed as Jocelyn Lane. Yet early publicity for the Elvis Presley musical Tickle Me (1965) still refers to her as Jackie, as does her January 1966 cover photo on "Popular Photography" magazine. Although Jocelyn feigned a convincing American accent, her aloof, haughty screen persona did not endear her to US audiences, despite several showy leading roles in popular B-films. She retired from the screen in the early 1970s, ultimately marrying Spanish royalty. However, she remains in the memory, literally becoming a fixture of her cinematic times. One image of her, used on the poster of her film Hell's Belles (1969), features a ground-level shot of the 32-year old-Jocelyn (looking all of 22) in a black leather miniskirt and boots, staring haughtily at the camera, has become an icon of 1960s pop culture.- Actress
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Diminutive Irish-Italian Lisa Gastoni began her acting career in Britain after her family settled there in 1948. Though she had initially wanted to be an architect, she changed her mind and became a model and then an actress, making her debut screen appearance in 1954. She appeared mostly in B-movies, at one time under contract to British Lion. Her first featured role of note was in the naval farce The Baby and the Battleship (1956), followed by a few leads in comedies like Three Men in a Boat (1956) and Second Fiddle (1957), or crime thrillers like Menace in the Night (1957), Thunder Over Tangier (1957) and Prescription for Murder (1958). She also guest starred in two episodes of ITV's Danger Man (1960). She was briefly married in the mid-50s to a physics professor.
In 1961, Gastoni returned to Italy, following a second marriage to a Greek actor. She was immediately elevated to higher profile roles, beginning with that of legendary pirate Mary Read in the swashbuckling adventure Queen of the Seas (1961). She also paid her inevitable ornamental dues in a handful of sword-and-sandal spectacles. However, by the middle of the decade, Gastoni began to shed her 'good girl' image to parlay her prominence into a series of effective villainous portrayals: the nefarious Milady de Winter in I quattro moschettieri (1964), Lucrezia Borgia in L'uomo che ride (1966) and the wife of gangster Luciano Luttring ("the machine gun soloist") in Carlo Lizzani's Wake Up and Die (1966). This role won her a Best Actress Silver Ribbon, followed in 1968 with a Golden Plate at the David di Donatello Awards (the Italian equivalent of the Oscars) for her performance in the morbidly perverse drama Come Play with Me (1968).
In the 70s, Gastoni had yet more critical success playing seductive or sexually frustrated middle-class women in avant garde productions like Amore amaro (1974) (the story of two lovers separated by age, social background and irreconcilable political ideologies) and the morally ambiguous drama Submission (1976). She also played Benito Mussolini's mistress, Claretta Petacci, in The Last 4 Days (1974). Less well received (despite a famous score by Ennio Morricone) was the excessively arty erotic fantasy Maddalena (1971), a curious and belated foray into psychedelics.
Gastoni absented herself from the screen between 1979 and 2005 to pursue other muses (painting and writing). A more recent performance in the drama Sacred Heart (2005) won her a Best Supporting Actress nomination at the David di Donatello Awards.- Actress
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Fewer dames were tougher on the 40s and 50s screen than leggy (5'9") "B" star Adele Jergens, the tough-talking, plump-cheeked peroxide blonde who gave her fair share of tawdry trouble in backstage dramas, film noir, crime potboilers, and adventure yarns. She was just as headstrong at trying to bust out of the chorus lines and cheesecake parts to become a topnotch "A" actress draw. She failed in the latter but nevertheless left a respectable Hollywood legacy for the host of hard-as-nails babes that did leave an impression.
Born on November 26, 1917, in Brooklyn New York, the youngest of four to working class Norwegian parents, she was christened Adele Louisa Jurgens (some sources say Jurgenson) and started her youth as a sports-minded tomboy before setting her young teen sights on an entertainment career as a dancer. After years of study (she earned a scholarship) at a Manhattan dance studio and following her graduation from Grover Cleveland High School, the knockout-looking 18-year-old found her way into the Broadway chorus line (billed as Adele Jurgens, her real name) of the Moss Hart/Cole Porter musical "Jubilee!", which introduced the classic Porter songs "Begin the Beguine" and "Just One of Those Things" and starred Melville Cooper and Mary Boland as the King and Queen and a young Montgomery Clift as Prince Peter.
The John Robert Powers Agency saw in Adele top runway model potential and quickly signed up the gorgeous girl and her gams. She willingly played the starlet game by being squired around town by big Broadway stars and handsome male eligibles, and finding promotional titles to further attract pin-up attention -- "Miss World's Fairest" at the New York 1939 World's Fair, as well as "The Champagne Blonde" and "The Girl with the Million Dollar Legs". She was even dubbed "The Number One Showgirl in New York City" at one point. By this time she had revised the spelling of her last name for the stage (Jergens). In between modeling assignments, Adele found dance work in other in cabaret revues, nightclubs, in the Rockette chorus line, and in such Broadway shows as Cole Porter's "Leave It to Me!" (1938) again starring Gaxton and Moore and co-starring "My Heart Belongs to Daddy" singing star Mary Martin; Cole Porter's "DuBarry Was a Lady" (1939) with Ethel Merman belting out "Well, Did You Evah?" and "Friendship"; "Louisiana Purchase" (in a replacement role) (1940), "Banjo Eyes" (1941) starring Eddie Cantor and the burlesque revue "Star and Garter" (1942) in which Adele had a featured role while understudying one of its headliners, Gypsy Rose Lee. She went on for Ms. Lee, Hollywood took immediate notice with Twentieth Century-Fox signing her up.
Adele started at the bottom rung at Fox with the usual decorative showgirl or good time girl parts in the musicals Hello Frisco, Hello (1943), Sweet Rosie O'Grady (1943), The Gang's All Here (1943)and Pin Up Girl (1944). When Fox dropped her option she was snatched up by Columbia in a seven-year contract. After minor parts again in the musicals Dancing in Manhattan (1944), Tonight and Every Night (1945) and State Fair (1945), she was entrusted with the lead femme role as Princess Armina of Baghdad in the Eastern adventure A Thousand and One Nights (1945) with Phil Silvers and handsome Cornel Wilde as Aladdin. She also displayed a brusque comic flair as the aptly-named Allura in the Rosalind Russell comedy She Wouldn't Say Yes (1945) as an hilariously-accented blonde briefly competing for Russell's man Lee Bowman. She top-lined her own musical albeit the quickly forgotten When a Girl's Beautiful (1947) which co-starred Marc Platt and Stephen Dunne.
After a lull, the former WWII pin-up (once nick-named "The All-American Girl" by the men of the 504th parachute infantry) was now being billed by Columbia as "The Eyeful" and returned to the musical genre with the fantasy Down to Earth (1947). Rita Hayworth plays a heavenly muse who, disturbed by a Broadway musical below the clouds that is mocking Greek mythology. Turning mortal, she takes things in her own hands by turning mortal and (not easily) replacing the show's tough-talking original goddess Adele Jergens in order to manipulate the proceedings. Adele gets to tap and sing (dubbed by Kay Starr) before she is fired.
Outside of musicals, the hard-looking blonde (especially when her hair was let down), Adele started making headway in crime dramas and film noir starting with a nifty featured role as a glamour girl in The Corpse Came C.O.D. (1947). She followed that with hard-boiled roles in I Love Trouble (1948), The Dark Past (1948), Edge of Doom (1950), Armored Car Robbery (1950) and Side Street (1949). For the most part, however, it was the usual over-served hash that, while keeping her busy, also kept her locked in the "B" support ranks -- The Prince of Thieves (1948), Law of the Barbary Coast (1949), Slightly French (1949), Make Believe Ballroom (1949), Aaron Slick from Punkin Crick (1952), Somebody Loves Me (1952) -- when not leading in inconsequential material such as Ladies of the Chorus (1948) (as the mother of Marilyn's Monroe's character), The Mutineers (1949), The Woman from Tangier (1948), The Crime Doctor's Diary (1949) and the serial Radar Secret Service (1950).
Treasure of Monte Cristo (1949) was notable for the casting of Adele and future husband Glenn Langan. One might think that gorgeous Adele would end up a divorcée many times over, but she and Langan, who wed on October 6, 1951, stayed married until his death almost 40 years later. The 1950s, following good parts (Sugarfoot (1951)) but far more routine ones (Beware of Blondie (1950), The Traveling Saleswoman (1950), Blues Busters (1950)), Adele moved into TV work. After having son Tracy in 1953, Adele took a brief break from her career, then resumed it and found work on such programs as "Dangerous Assignment", "The Abbott & Costello Show", "Mr. and Mrs. North", "Make Room for Daddy", "The Public Defender", "I Married Joan", "My Favorite Husband", and "The Burns & Allen Show". Co-starring on film with husband Langan again in The Big Chase (1954), Jergens worked for a couple more years then left the business as the quality of her movies diminished with tawdry roles in Fireman Save My Child (1954), The Miami Story (1954), The Lonesome Trail (1955), Girls in Prison (1956) and Runaway Daughters (1956). She never returned but husband continued his career until the early 1970s; he also dabbled in real estate.
Glenn Langan died of cancer in 1991 and their only child, 48-year-old Tracy, who had become a film technician, died in 2001 of a brain tumor, which devastated the actress. Her health declined quickly after her son's death; she died the following year of pneumonia on November 22, 2002, just days before her 85th birthday.- Petite and amiable blonde 50s B-movie starlet June Kenney was groomed for a performing career from early childhood. By the age of four she was proficient as a singer and dancer. Her mother enrolled her in the 'Meglin Kiddies' dancing troupe (Judy Garland was a former alumnus) to learn ballet and tap. Hoping to break into films, teenaged June attended the Hollywood Professional School and made ends meet as an usherette at Grauman's Chinese. While acting in a local play she was spotted by the brother of talent agent and producer Paul Kohner and signed up with the agency. Her first appearance on screen was in 1952. She made little headway for the first five years, though her face and voice garnered some exposure through TV ads for Vaseline, Coppertone and Austin-Healy.
In 1957, June headlined as a juvenile delinquent in her first feature: Roger Corman's Teenage Doll (1957). Corman liked her performance and this paved the way to further leads in teen exploitation flics like Sorority Girl (1957), Hot Car Girl (1958) and the interminable titled The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957). Her stock-in-trade characters were usually naive girls caught up in bad company or unjustly accused. June attracted some scream queen notice in Bert I. Gordon's sub-zero budget Dr. Cyclops (1940) pastiche Attack of the Puppet People (1958) and in the even sillier The Spider (1958). With this resume, it was somehow inevitable that she would end up being typecast as a B-movie actress. Unable to break out of the mould and obtain better roles, June's career took a turn for the worse after her final starring fling (in Bloodlust! (1961), an inferior reworking of Richard Connell's The Most Dangerous Game (1932) ) was universally panned by critics and audiences alike. By 1962, she seems to have lost heart, abandoned acting and segued into voicing commercials for a Los Angeles sports radio station. Her work in that medium continued after she married and settled down on a horse ranch in Nevada as June C. Sebastian. - Actress
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Lori Nelson began her show biz career at the age of two-and-a-half, dancing in a show in her native Santa Fe, New Mexico. She was voted Santa Fe's most talented and beautiful child, and toured the state billed as "Santa Fe's Shirley Temple." At age four, Nelson moved to Hollywood with her parents and there was named Little Miss America. She worked as a fashion photographer's model, then (in the early 1940s) made her first bid for a movie career, testing (unsuccessfully) for a role in Warner Brothers' Kings Row (1942). There was a second false start a few years later, when Arthur M. Landau, a Hollywood producer and self-proclaimed "discoverer" of 1930s star Jean Harlow, expressed interest in casting teenage Nelson as Harlow in a movie bio. (The project never materialized.) Agent Milo O. Frank Jr. helped Nelson get into the movies, taking her to Universal to meet with casting people. Nelson trained with the studio dramatic coach, enacted a scene for the front office and ultimately was offered a seven-year contract, which was approved in court on her 17th birthday. After several years at Universal, she freelanced in movies and TV.- Kim Parker was born on 3 June 1932 in Vienna, Austria. She was an actress, known for Fiend Without a Face (1958), Stock Car (1955) and The Good Companions (1957). She was married to Paul Carpenter and Terry J. Howell. She died on 23 December 2010 in Las Vegas, Nevada, USA.
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Uschi Digard was born in Saltsjö-Duvnäs, near Stockholm, Sweden. At 16 she left home, traveled to Paris and spent a year there and then in Italy before journeying further to England. She returned to her native Sweden but finally settled in the United States in 1967. Working as a translator for the jewelry trade, she was told so often that she should model she eventually decided to give it a try. Before long she was appearing in adult films and was eventually "discovered" by filmmaker Russ Meyer. After a long and illustrious career she retired in 1989.
She speaks eight languages (German, Italian, Spanish, Swedish, Danish, Norwegian, French and English). Now married, she lives in Palm Springs, California, for two weeks out of every month; the rest of the time she spends in her private pad in North Hollywood.- Actress
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Angela Greene was born on 24 February 1921 in Dublin, Ireland. She was an actress, known for Night of the Blood Beast (1958), The Time, the Place and the Girl (1946) and King of the Bandits (1947). She was married to Stuart Warren Martin. She died on 9 February 1978 in Los Angeles, California, USA.- Alix Talton was born Alice Talton on June 7, 1920 in Atlanta, Georgia. Of part Cherokee Indian descent, Alix studied dancing and singing while growing up. After being crowned Miss Atlanta in a local beauty pageant in 1938, Talton went on to represent Georgia in the Miss America beauty pageant held on September 10, 1938 in Atlantic City, New Jersey. Alix was also a model in New York and a member of the singing group The American Jubilee as well as learned her craft by doing summer stock in Brattleboro, Vermont. Talton was discovered by a Warner Brothers scout in a Community Playhouse stage production in Atlanta, Georgia and subsequently added to the contract list at Warner Brothers in March, 1941. Alix married ex-Hollywood agent and Air Force sergeant Lou Kerner in Beverly Hills, California on April 8, 1944; the couple were the parents of a son, Bruce M. Kerner. Talton divorced Kerner in 1949 and married her second husband George Cahan on March 18, 1950. Alix and Cahan had a daughter, Claudia Cahan. Talton remained married to Cahan right up to his death from a heart attack on June 12, 1991.
Alix's show business career was interrupted in the early 1950's when she was thrown off a horse at a resort near San Bernardino, California and broke two vertebrae. Moreover, Talton attracted public notice in 1954 when she successfully pleaded with members of a parole board in Atlanta, Georgia to release her brother Richard from prison where he was serving a nine-to-twenty year sentence for a robbery he committed in 1950. In addition, Alix acted in a handful of films and TV shows in a career that spanned several decades. Talton died from lung cancer on April 7, 1992 in Burbank, California. She was survived by her son Bruce M. Kerner, daughter Claudia Cahan, and two grandchildren. - Actress
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Osa Massen (born Aase Madsen Iversen) was a newspaper photographer with an ambition to become a film editor. Prolific Danish film director Alice O'Fredericks gave her a role in her film Kidnapped (1935). After only two films in Denmark, she was given a screen test by 20th Century Fox and arrived in Hollywood in 1938.- Actress
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Evelyn Ankers, a beautiful movie actress who was a staple of Universal's horror films in the 1940s, was born in Chile to English parents in 1918. Her parents repatriated the family back to England in the 1920s, and it was in Old Blighty that Ankers developed a desire to become an actress.
She began appearing in small roles in English movies in the mid 1930s while she was still in school. She appeared in Fire Over England (1937) with Laurence Olivier and Vivien Leigh and in Bells of St. Mary's (1937). A beauty with talent, she soon won starring roles in the low-budget The Villiers Diamond (1938) and The Claydon Treasure Mystery (1938).
With war clouds darkening the skies over Europe, Ankers emigrated to the United States and was signed to a contract by Universal in 1940. She made her Universal debut in the Abbott and Costello comedy-horror picture Hold That Ghost (1941) before appearing in the horror film classic The Wolf Man (1941) opposite Lon Chaney Jr.. Ankers found herself cast into the horror picture ghetto, appearing in three more Chaney fright films, The Ghost of Frankenstein (1942), Son of Dracula (1943) and The Frozen Ghost (1945), during a period in which she was cast ashore with a sarong-less Jon Hall in The Invisible Man's Revenge (1944). She also appeared in support of Basil Rathbone's Sherlock Holmes in Sherlock Holmes and the Voice of Terror (1942) and The Pearl of Death (1944).
Ankers married B-movie hunk Richard Denning in 1942 and made a go articulating the anxieties of the home front while her husband was off to war. Horror flicks were popular during World War II, but after the cessation of hostilities in 1945, they went out of favor with audiences. Ankers' career, mated to the genre at Universal, suffered.
She quit Universal in 1945 and freelanced at Columbia and Poverty Row's Producers Releasing Corporation (PRC) and Republic Pictures in dramas and mysteries. Evelyn co-starred with her returned husband, Richard, in the major release Black Beauty (1946) for 20th Century Fox. For PRC, she headlined Queen of Burlesque (1946) and later co-starred with Lex Barker in Tarzan's Magic Fountain (1949).
As the 1950s dawned, a decade of conformity and family values, Ankers quit the movies for married life and motherhood after making The Texan Meets Calamity Jane (1950), in which she was first-billed. She was 32 years old. A decade later, Ankers came out of retirement to make one final screen appearance, in her hubby's No Greater Love (1960).
Evelyn Ankers died of ovarian cancer on August 29, 1985, twelve days after her 67th birthday.- Zita Johann was born on 14 July 1904 in Temesvar, Austria-Hungary [now Timisoara, Timis, Romania]. She was an actress, known for The Mummy (1932), The Sin of Nora Moran (1933) and Tiger Shark (1932). She was married to Bernard Edward Shedd (Schetnitz), John McCormick and John Houseman. She died on 20 September 1993 in Nyack, New York, USA.
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Elegant, quintessentially British Valerie Hobson was the daughter of a British army officer. She studied dancing at the Royal Academy of Dramatic Art (RADA) and appeared onstage for the first time at age 16, but she contracted a case of scarlet fever and decided to give up dancing for acting. She journeyed to Hollywood, but became disillusioned with the studio system and returned to Britain, where she was often cast in aristocratic roles.
She married producer Anthony Havelock-Allan and subsequently appeared in many of his films. They divorced in 1952. She then married politician -- and future notorious sex-and-espionage-scandal figure -- John Profumo and gave up her acting career. She stood strongly by Profumo during that distasteful period. In her later years she was devoted to charity work. She died in 1998, aged 81.- Actress
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Born and raised in Alabama as Ann Steely, O'Donnell attended high school and college in Oklahoma City, Oklahoma, then worked as a stenographer to finance a trip to Hollywood, where she was spotted by a talent scout, leading to her being signed to a contract by producer Samuel Goldwyn.
Recognizing her talent and appeal through a thick Southern accent, Goldwyn arranged rigorous voice & theatrical training at the American Academy of Dramatic Arts and elsewhere, bestowed on her a winsome Irish stage name, and cast her in The Best Years of Our Lives (1946). This film's success boded well for Cathy's career, and soon she was starring in the now-classic They Live by Night (1948). However, her rise in films was checked when, on Sunday, April 11th, 1948, at age 24, she married 48-year-old producer Robert Wyler, older brother of one of Hollywood's most accomplished directors, William Wyler, whose own long-term contract with Goldwyn had recently ended acrimoniously. The irate Goldwyn abruptly canceled her contract; thereafter she had no lasting association with any studio or producer. Her most memorable roles of the 1950s were in classic films noir, such as Detective Story (1951), where her sincere, sweet girl-next-door persona was at odds with those films' dark, gritty milieu. Her last and most famous film was Ben-Hur (1959), after whose enormous success she worked on TV until 1961. Belying Goldwyn's opinion, her marriage to Wyler proved happy, though childless. Her death on their 22nd wedding anniversary, Saturday, April 11th, 1970, followed a long struggle with cancer.- Actress
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Paulette Goddard was a child model who debuted in "The Ziegfeld Follies" at the age of 13. She gained fame with the show as the girl on the crescent moon, and was married to a wealthy man, Edgar James, by the time she was 17. After her divorce she went to Hollywood in 1931, where she appeared in small roles in pictures for a number of studios. A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. One of her bigger roles in that period was as a blond "Goldwyn Girl" in the Eddie Cantor film The Kid from Spain (1932). In 1932 she met Charles Chaplin, and they soon became an item around town. He cast her in Modern Times (1936), which was a big hit, but her movie career was not going anywhere because of her relationship with Chaplin. They were secretly married in 1936, but the marriage failed and they were separated by 1940. It was her role as Miriam Aarons in The Women (1939), however, that got her a contract with Paramount. Paulette was one of the many actresses tested for the part of Scarlett O'Hara in Gone with the Wind (1939), but she lost the part to Vivien Leigh and instead appeared with Bob Hope in The Cat and the Canary (1939), a good film but hardly in the same league as GWTW. The 1940s were Paulette's busiest period. She worked with Chaplin in The Great Dictator (1940), Cecil B. DeMille in Reap the Wild Wind (1942) and Burgess Meredith in The Diary of a Chambermaid (1946). She was nominated for an Academy Award for Best Supporting Actress in So Proudly We Hail! (1943). Her star faded in the late 1940s, however, and she was dropped by Paramount in 1949. After a couple of "B" movies, she left films and went to live in Europe as a wealthy expatriate; she married German novelist Erich Maria Remarque in the late 1950s. She was coaxed back to the screen once more, although it was the small screen, for the television movie The Female Instinct (1972).- Actress
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She won a beauty contest at age fourteen. In 1920 her mother, Edith Shearer, took Norma and her sister Athole Shearer (Mrs. Howard Hawks) to New York. Ziegfeld rejected her for his "Follies," but she got work as an extra in several movies. She spent much money on eye doctor's services trying to correct her cross-eyed stare caused by a muscle weakness. Irving Thalberg had seen her early acting efforts and, when he joined Louis B. Mayer in 1923, gave her a five year contract. He thought she should retire after their marriage, but she wanted bigger parts. In 1927, she insisted on firing the director Viktor Tourjansky because he was unsure of her cross-eyed stare. Her first talkie was in The Trial of Mary Dugan (1929); four movies later, she won an Oscar in The Divorcee (1930). She intentionally cut down film exposure during the 1930s, relying on major roles in Thalberg's prestige projects: The Barretts of Wimpole Street (1934) and Romeo and Juliet (1936) (her fifth Oscar nomination). Thalberg died of a second heart attack in September, 1936, at age 37. Norma wanted to retire, but MGM more-or-less forced her into a six-picture contract. David O. Selznick offered her the part of Scarlett O'Hara in Gone with the Wind (1939), but public objection to her cross-eyed stare killed the deal. She starred in The Women (1939), turned down the starring role in Mrs. Miniver (1942), and retired in 1942. Later that year she married Sun Valley ski instructor Martin Arrouge, eleven years younger than she (he waived community property rights). From then on, she shunned the limelight; she was in very poor health the last decade of her life.- Actress
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Born Joan de Beauvoir de Havilland on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement, to British parents, Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her paternal grandfather's family was from Guernsey in the Channel Islands. Her father had a lucrative practice in Japan, but due to Joan and older sister Olivia de Havilland's recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and divorced soon afterward. Mrs. de Havilland had a desire to be an actress but her dreams were curtailed when she married, but now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose and then Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname.
She tested at MGM and gained a small role in No More Ladies (1935), but she was scarcely noticed and Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. In 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937) and then an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942).
The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, she lost out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister and more fine films followed. In 1948, she accepted second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year of 1949 off before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's Darling, How Could You! (1951), which turned out badly for both her and the studio and more weak productions followed.
Absent from the big screen for a while, she took parts in television and dinner theaters. She also starred in many well-produced Broadway plays such as Forty Carats and The Lion in Winter. Her last appearance on the big screen was The Witches (1966) and her final appearance before the cameras was Good King Wenceslas (1994). She is, without a doubt, a lasting movie icon.- Actress
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One of the brightest, most tragic movie stars of Hollywood's Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.
She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Ethel Marian (Milne) and Francis Avent "Frank" Gumm. She was of English, along with some Scottish and Irish, descent. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2 years old when Baby Frances repeatedly sang "Jingle Bells" until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled "The Gumm Sisters," along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.
Her family life was not a happy one, largely because of her mother's drive for her to succeed as a performer and also her father's closeted homosexuality. The Gumm family would regularly be forced to leave town owing to her father's illicit affairs with other men, and from time to time they would be reduced to living out of their automobile. However, in September 1935 the Gumms', in particular Ethel's, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular '30s song "Judy" and film critic Robert Garland.
Tragedy soon followed, however, in the form of her father's death of meningitis in November 1935. Having been given no assignments with the exception of singing on radio, Judy faced the threat of losing her job following the arrival of Deanna Durbin. Knowing that they couldn't keep both of the teenage singers, MGM devised a short entitled Every Sunday (1936) which would be the girls' screen test. However, despite being the outright winner and being kept on by MGM, Judy's career did not officially kick off until she sang one of her most famous songs, "You Made Me Love You," at Clark Gable's birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.
Prior to this her film debut in Pigskin Parade (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However, following her rendition of "You Made Me Love You," MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This soon produced the downward spiral that resulted in her lifelong drug addiction.
In 1939, Judy shot immediately to stardom with The Wizard of Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song, 'Over The Rainbow,' earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for meatier adult roles instead of the virginal characters she had been playing since she was 14. She was now taking an interest in men, and after starring in her final juvenile performance in Ziegfeld Girl (1941) alongside glamorous beauties Lana Turner and Hedy Lamarr, Judy got engaged to bandleader David Rose in May 1941, just two months after his divorce from Martha Raye. Despite planning a big wedding, the couple eloped to Las Vegas and married during the early hours of the morning on July 28, 1941 with just her mother Ethel and her stepfather Will Gilmore present. However, their marriage went downhill as, after discovering that she was pregnant in November 1942, David and MGM persuaded her to abort the baby in order to keep her good-girl image up. She did so and, as a result, was haunted for the rest of her life by her 'inhumane actions.' The couple separated in January 1943.
By this time, Judy had starred in her first adult role as a vaudevillian during WWI in For Me and My Gal (1942). Within weeks of separation, Judy was soon having an affair with actor Tyrone Power, who was married to French actress Annabella. Their affair ended in May 1943, which was when her affair with producer Joseph L. Mankiewicz kicked off. He introduced her to psychoanalysis and she soon began to make decisions about her career on her own instead of being influenced by her domineering mother and MGM. Their affair ended in November 1943, and soon afterward Judy reluctantly began filming Meet Me in St. Louis (1944), which proved to be a big success. The director Vincente Minnelli highlighted Judy's beauty for the first time on screen, having made the period musical in color, her first color film since The Wizard of Oz (1939). He showed off her large brandy-brown eyes and her full, thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together.
Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in The Clock (1945), and it was during the filming of this movie that the couple announced their engagement on set on January 9, 1945. Judy's divorce from David Rose had been finalized on June 8, 1944 after almost three years of marriage, and despite her brief fling with Orson Welles, who at the time was married to screen sex goddess Rita Hayworth, on June 15, 1945 Judy made Vincente her second husband, tying the knot with him that afternoon at her mother's home with her boss Louis B. Mayer giving her away and her best friend Betty Asher serving as bridesmaid. They spent three months on honeymoon in New York and afterwards Judy discovered that she was pregnant.
On March 12, 1946 in Los Angeles, California, Judy gave birth to their daughter, Liza Minnelli, via cesarean section. It was a joyous time for the couple, but Judy was out of commission for weeks due to the cesarean and her postnatal depression, so she spent much of her time recuperating in bed. She soon returned to work, but married life was never the same for Vincente and Judy after they filmed The Pirate (1948) together in 1947. Judy's mental health was fast deteriorating and she began hallucinating things and making false accusations toward people, especially her husband, making the filming a nightmare. She also began an affair with aspiring Russian actor Yul Brynner, but after the affair ended, Judy soon regained health and tried to salvage her failing marriage. She then teamed up with dancing legend Fred Astaire for the delightful musical Easter Parade (1948), which resulted in a successful comeback despite having Vincente fired from directing the musical. Afterwards, Judy's health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.
She soon regained strength and was visited frequently by her lover Frank Sinatra, but never saw much of Vincente or Liza. On returning, Judy made In the Good Old Summertime (1949), which was also Liza's film debut, albeit via an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of The Barkleys of Broadway (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on Annie Get Your Gun (1950), Judy was suspended yet again before making her final film for MGM, entitled Summer Stock (1950). At 28, Judy received her third suspension and was fired by MGM, and her second marriage was soon dissolved.
Having taken up with Sidney Luft, Judy traveled to London to star at the legendary Palladium. She was an instant success and after her divorce from Vincente Minnelli was finalized on March 29, 1951 after almost six years of marriage, Judy traveled with Sid to New York to make an appearance on Broadway. With her newfound fame on stage, Judy was stopped in her tracks in February 1952 when she became pregnant by her new lover, Sid. At the age of 30, she made him her third husband on June 8, 1952; the wedding was held at a friend's ranch in Pasadena. Her relationship with her mother had long since been dissolved by this point, and after the birth of her second daughter, Lorna Luft, on November 21, 1952, she refused to allow her mother to see her granddaughter. Ethel then died in January 1953 of a heart attack, leaving Judy devastated and feeling guilty about not reconciling with her mother before her untimely demise.
After the funeral, Judy signed a film contract with Warner Bros. to star in the musical remake of A Star Is Born (1937), which had starred Janet Gaynor, who had won the first-ever Academy Award for Best Actress in 1929. Filming soon began, resulting in an affair between Judy and her leading man, British star James Mason. She also picked up on her affair with Frank Sinatra, and after filming was complete Judy was yet again lauded as a great film star. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but when it came to the Academy Awards, a distraught Judy lost out on the Best Actress Oscar to Grace Kelly for her portrayal of the wife of an alcoholic star in The Country Girl (1954). Many still argue that Judy should have won the Oscar over Grace Kelly. Continuing her work on stage, Judy gave birth to her beloved son, Joey Luft, on March 29, 1955. She soon began to lose her millions of dollars as a result of her husband's strong gambling addiction, and with hundreds of debts to pay, Judy and Sid began a volatile, on-off relationship resulting in numerous divorce filings.
In 1961, at the age of 39, Judy returned to her ailing film career, this time to star in Judgment at Nuremberg (1961), for which she received an Oscar nomination for Best Supporting Actress, but this time she lost out to Rita Moreno for her performance in West Side Story (1961). Her battles with alcoholism and drugs led to Judy's making numerous headlines in newspapers, but she soldiered on, forming a close friendship with President John F. Kennedy. In 1963, Judy and Sid finally separated permanently, and on May 19, 1965 their divorce was finalized after almost 13 years of marriage. By this time, Judy, now 41, had made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963). She married her fourth husband, Mark Herron, on November 14, 1965 in Las Vegas, but they separated in April 1966 after five months of marriage owing to his homosexuality. It was also that year that she began an affair with young journalist Tom Green. She then settled down in London after their affair ended, and she began dating disk jockey Mickey Deans in December 1968. They became engaged once her divorce from Mark Herron was finalized on January 9, 1969 after three years of marriage. She married Mickey, her fifth and final husband, in a register office in Chelsea, London, England on March 15, 1969.
She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London, England that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her much of her life, on June 22, 1969 at the age of 47. Her daughter Liza Minnelli paid for her funeral, and her former lover James Mason delivered her touching eulogy. She is still an icon to this day with her famous performances in The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and A Star Is Born (1954).- Actress
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She was born of Irish ancestry as Joan Agnes Theresa Brodel, the daughter of an accountant and a pianist. She was educated at Catholic schools in Toronto, Montreal and Detroit. There were three sisters, her older siblings being Mary and Betty. Together, they made up a successful vaudeville act, the Brodel Sisters. Trained in singing, dancing and dramatics from early childhood, Joan began on stage at the age of nine. The Brodel's entry into in show biz at such a tender age had much to do with supporting their impoverished parents during the Depression years. With her sisters, Joan performed on radio and in nightclubs. The most talented of the trio, she excelled at impersonations, her repertoire including Katharine Hepburn, Greta Garbo, Jimmy Durante and Maurice Chevalier. While Mary played the saxophone and Betty the piano, Joan was a wiz on the accordion and the banjo. One night, during a performance at the Paradise Club in New York, she was singled out by an MGM talent scout and promptly signed for six months with a salary of $200 a week. Her first role of note was as Robert Taylor's young sister in the period drama Camille (1936). She did not last long at MGM, but, in 1940, was signed by Warner Brothers. Voice coaching smoothed her Midwestern accent and Joan Brodel became Joan Leslie, ostensibly 'to avoid confusion' with Warner's star comedienne Joan Blondell.
Little Joan was all but 14 years old when her movie career began in earnest. Her ability to cry on cue proved instrumental in her selection for the pivotal role of Velma, the club-footed girl helped by gangster Roy Earle (Humphrey Bogart) in High Sierra (1940). This role, by her own account, put her on the map. In between working as a photographers model, Joan flourished in A-grade productions, playing Gary Cooper's sweetheart in Sergeant York (1941) (despite a 24-years age difference), co-starring and dancing with James Cagney in Yankee Doodle Dandy (1942) and featuring in the top half of the bill in the aptly named, star-studded musical extravaganza Thank Your Lucky Stars (1943). She did her bit for the war effort too, dancing with servicemen in Hollywood Canteen (1944) and being featured in the movie along with her sister Betty. By 1942, Joan had acquired a wholesome reputation as the all-American girl-next-door. Life Magazine described her as "looking every inch the schoolgirl she is" and her greatest asset being "a manner of projecting sweet innocence without seeming too sugary". Before long, however, the relationship between Joan and her studio began to sour.
By 1945, the quality of her roles had begun to deteriorate. She made a couple of so-so pictures with Robert Alda, Rhapsody in Blue (1945) (an entertaining, but highly fictionalised biopic of George Gershwin) and Cinderella Jones (1946). After appearing in Two Guys from Milwaukee (1946), Joan, demanding more mature roles, took Warner Brothers to court. Having made her point, her contract was dropped. Between 1947 and 1954, Joan freelanced, often for Poverty Row outfits like Eagle-Lion, Lippert and Republic. She became yet another fatality of Hollywood typecasting, another example of an attractive ingenue, a promising starlet and a potential major star who ended up as a low budget western lead. Still, later interviews suggested that she rather enjoyed acting in her handful of second-string westerns and they earned Joan a Golden Boot Award in 2006 for contributions to the genre. She finally had another co-starring turn, billed behind Jane Russell and Richard Egan in The Revolt of Mamie Stover (1956), thereafter restricting her appearances to the small screen. Joan has a star on the Hollywood Walk of Fame on Vine Street.
In her later private life, Joan was devoted to various Catholic charities and to raising her identical twin daughters. As Joan Caldwell, an obstetrician's widow, she founded a Chair in Gynecologic Oncology at the University of Louisville. Joan died in October 2017 at the age of 90.
She quit her acting career to raise her identical twin daughters Patrice and Ellen. Both daughters are now Doctors, teaching at universities.- Actress
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Ernestine Jane Geraldine Russell was born on June 21, 1921, in Bemidji, Minnesota. Her father was a United States Army lieutenant and her mother had been a student of drama and an actress with a traveling troupe. Once Mr. Russell was mustered out of the service, the family took up residence in Canada but moved to California when he found employment there. The family was well-to-do and although Jane was the only girl among four brothers, her mother saw to it that she took piano lessons. In addition to music, Jane was interested in drama much as her mother had been and participated in high school stage productions. Upon graduation, Jane took a job as a receptionist for a doctor who specialized in foot disorders. Although she had originally planned on being a designer, her father died, and she had to go to work to help the family. Jane modeled on the side and was very much sought-after especially because of her figure.
She managed to save enough money to go to drama school, with the urging of her mother. She was signed by Howard Hughes for his production of The Outlaw (1943) in 1941, the film that was to make Jane famous. The film was not a classic by any means but was geared through its marketing to show off Jane's ample physical assets rather than acting abilities. Although the film was made in 1941, it was not released until two years later and then only on a limited basis due to the way the film portrayed Jane's assets. It was hard for the flick to pass the censorship board. Finally, the film gained general release in 1946. The film was a smash at the box office.
Jane did not make another film until 1945 when she played Joan Kenwood in Young Widow (1946). She had signed a seven-year contract with Hughes, and it seemed the only films he would put her in were those that displayed Jane in a very flattering light due to her body. Films such as His Kind of Woman (1951) and The Las Vegas Story (1952) did nothing to highlight her true acting abilities. The pinnacle of her career was in Gentlemen Prefer Blondes (1953) as Dorothy Shaw, with Marilyn Monroe. This film showed Jane's comedic side very well. Jane did continue to make films throughout the 1950s, but the films were at times not up to par, particularly with Jane's talents being wasted in forgettable movies to show off her sexy side. Films such as Gentlemen Marry Brunettes (1955) and The Revolt of Mamie Stover (1956) did do Jane's justice and were able to show exactly the fine actress she was.
After The Fuzzy Pink Nightgown (1957) (a flop), Jane took a hiatus from films, to dabble a little in television, returning in 1964 to film Fate Is the Hunter (1964). Unfortunately, the roles were not there anymore as Jane appeared in only four pictures during the entire decade of the 1960s. Her last film of the decade was The Born Losers (1967). After three more years away from the big screen, she returned to make one last film called Darker Than Amber (1970). Her last play before the public was in the 1970s when Jane was a spokesperson for Playtex bras. Had Jane not been wasted during the Hughes years, she could have been a bigger actress than what she was allowed to show. Jane Russell died at age 89 of respiratory failure on February 28, 2011, in Santa Maria, California.- Actress
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Colorado-born leading lady Julie Bishop, who also acted under her birth name of Jacqueline Wells and the stage name Diane Duval, started off as a silent movie child actress, working with such legends as Clara Bow and Mary Pickford.
The daughter of a wealthy banker and oilman, she was raised in Texas and, eventually Los Angeles, following her parents' divorce. She was signed by Warner Bros in 1940 and played a dutiful sweethearts opposite filmdom's top male stars, notably Errol Flynn in Northern Pursuit (1943), Humphrey Bogart in Action in the North Atlantic (1943), John Wayne in both Sands of Iwo Jima (1949) and The High and the Mighty (1954), and Alan Ladd in The Big Land (1957), her last picture. But, for the most part, she was never given anything challenging enough to become a top-flight star.
She also appeared on stage in "Hamlet" and "The Merchant of Venice". A licensed private pilot, Julie painted still lifes and staged several exhibitions in her post-career years. She died at age 87, on her birthday.- Actress
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A professional entertainer since the age of six, blue-eyed brunette Jane Frazee and her older sister Ruth Frazee had a vaudeville sister act and appeared in nightclubs and on radio together. They journeyed to Hollywood, but the act broke up when Ruth failed her screen tests and Jane passed hers. Jane was quite attractive with a pleasant singing voice, and went on to play in numerous westerns and light musicals after signing with Republic Pictures. She later appeared in a number of films for Universal Pictures, which put her to the test by having her warble amidst the antics of Bud Abbott and Lou Costello in Buck Privates (1941) and Ole Olsen and Chic Johnson in Hellzapoppin' (1941). She married actor/director Glenn Tryon in 1942 and had a son, Timothy, but the couple divorced in 1947. Moving into TV guest appearances in the early 1950s, Jane later retired and started a successful real estate business. She died in Newport Beach, California at age 67 following complications from a stroke on September 6, 1985.- Stephanie Bachelor was born on 23 May 1912 in Detroit, Michigan, USA. She was an actress, known for Blackmail (1947), Crime of the Century (1946) and Gangs of the Waterfront (1945). She was married to Cornelius Hurley. She died on 22 November 1996 in Las Vegas, Nevada, USA.
- Evalyn Knapp was an American film actress, with a film career spanning the years 1929 to 1943. In the 1930s, she was a leading actress in then-popular B-movie serial films. Her most memorable role was that protagonist Pauline Hargraves in the film serial Perils of Pauline (1933).
In 1906, Knapp was born in Kansas City, the largest city in Missouri by population and area. She was the younger sister of bandleader Orville Knapp. Orville started out as a professional musician in the bands of Vincent Lopez and Leo Reisman. He then joined the Coon-Sanders Original Nighthawk Orchestra, the first Kansas City jazz band to achieve national recognition. He eventually formed his own bands, one in New York City and another in Los Angeles. During the 1920s, one of the musicians in Orville's band was Curly Howard. Curly later became famous as an actor and comedian, serving as a member of the comedy team The Three Stooges.
Evalyn started her acting career in silent films, but at the dawn of the sound era. Her first credited role was in the short film At the Dentist's (1929). Starting with minor, unnamed characters, she graduated to playing leading roles by 1931. She was the leading lady in the pre-code drama film Smart Money (1931), where her co-stars included Edward G. Robinson and James Cagney.
In 1931, Knapp had an accident during a hike. She fell from a cliff and fractured two vertebrae. She spent several months in a hospital and had to relearn how to walk.
In 1932, Knapp was selected as one of the year's WAMPAS Baby Stars. This was a promotional campaign which honored young actresses each year, whom they believed to be on the threshold of movie stardom. At 26-years-old, Knapp was the oldest actress selected that year. The other "Baby Stars" of 1932 included (by order of birth years): Lilian Bond, June Clyde, Dorothy Wilson, Ruth Hall, Gloria Stuart, Marion Shockley, Ginger Rogers, Toshia Mori, Dorothy Layton, Boots Mallory, Eleanor Holm, Mary Carlisle, Lona Andre, and Patricia Ellis.
In 1933, Knapp starred in the film serial Perils of Pauline (1933) and received top billing in the comedy film His Private Secretary (1933). In the film she was the love interest of irresponsible playboy Dick Wallace, who motivates him to change his life. The role of Wallace was played by 26-years-old John Wayne, who was relatively obscure at the time.
In 1934, Knapp was the leading lady in the Western film In Old Santa Fe (1934). The film is remembered as the first screen appearance of Gene Autry, who sung a rendition of "Wyoming Waltz." The film served as a screen test for Autry, who proceeded to be cast in several "singing cowboy" films.
Also in 1934, Knapp married Dr. George A. Snyder. Her wedding gift was reportedly a yacht.
By the early 1940s, Knapp's career had declined. Her last credited role was a small part in the crime comedy Roar of the Press (1941), concerning a newlywed reporter who investigates murders instead of going on a honeymoon. Her last known role was that Miss Morris, Dr. O'Brien's Secretary, in the comedy Two Weeks to Live (1943). The film was a spin-off of the radio comedy serial "Lum and Abner" (1931-1954).
Knapp retired from acting at the age of 37. Following her retirement, she concentrated on her family life. She remained married to Snyder, until his death in 1977. She became a widow at the age of 71.
In 1981, Knapp died St. Vincent's Hospital in Los Angeles, dying from heart disease. She died five days before her 75th birthday. Her remains were cremated, and her ashes were scattered at sea. - Helen Wood was born on 4 June 1917 in Clarksville, Tennessee, USA. She was an actress, known for Charlie Chan at the Race Track (1936), The Pilgrimage Play (1949) and Crack-Up (1936). She died on 8 February 1988 in Burbank, California, USA.
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Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theater troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to "talkies". While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business - at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since.- Actress
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Ginger Rogers was born Virginia Katherine McMath in Independence, Missouri on July 16, 1911, the daughter of Lela E. Rogers (née Lela Emogene Owens) and William Eddins McMath. Her mother went to Independence to have Ginger away from her husband. She had a baby earlier in their marriage and he allowed the doctor to use forceps and the baby died. She was kidnapped by her father several times until her mother took him to court. Ginger's mother left her child in the care of her parents while she went in search of a job as a scriptwriter in Hollywood and later to New York City. Mrs. McMath found herself with an income good enough to where she could send for Ginger. Lelee became a Marine in 1918 and was in the publicity department and Ginger went back to her grandparents in Missouri. During this time her mother met John Rogers. After leaving the Marines they married in May, 1920 in Liberty, Missouri. He was transferred to Dallas and Ginger (who treated him as a father) went too. Ginger won a Charleston contest in 1925 (age 14) and a 4-week contract on the Interstate circuit. She also appeared in vaudeville acts which she did until she was 17 with her mother by her side to guide her. Now she had discovered true acting.
She married in March 1929, and after several months realized she had made a mistake. She acquired an agent and she did several short films. She went to New York where she appeared in the Broadway production of "Top Speed" which debuted Christmas Day, 1929. Her first film was in 1929 in A Night in a Dormitory (1930). It was a bit part, but it was a start. Later that year, Ginger appeared, briefly, in two more films, A Day of a Man of Affairs (1929) and Campus Sweethearts (1930). For awhile she did both movies and theatre. The following year she began to get better parts in films such as Office Blues (1930) and The Tip-Off (1931). But the movie that enamored her to the public was Gold Diggers of 1933 (1933). She did not have top billing, but her beauty and voice were enough to have the public want more. One song she popularized in the film was the now famous, "We're in the Money". Also in 1933, she was in 42nd Street (1933). She suggested using a monocle, and this also set her apart. In 1934, she starred with Dick Powell in Twenty Million Sweethearts (1934). It was a well-received film about the popularity of radio.
Ginger's real stardom occurred when she was teamed with Fred Astaire where they were one of the best cinematic couples ever to hit the silver screen. This is where she achieved real stardom. They were first paired in 1933's Flying Down to Rio (1933) and later in 1935's Roberta (1935) and Top Hat (1935). Ginger also appeared in some very good comedies such as Bachelor Mother (1939) and Fifth Avenue Girl (1939), both in 1939. Also that year, she appeared with Astaire in The Story of Vernon and Irene Castle (1939). The film made money but was not anywhere successful as they had hoped. After that, studio executives at RKO wanted Ginger to strike out on her own.
She made several dramatic pictures, but it was 1940's Kitty Foyle (1940) that allowed her to shine. Playing a young lady from the wrong side of the tracks, she played the lead role well, so well in fact, that she won an Academy Award for her portrayal. Ginger followed that project with the delightful comedy, Tom, Dick and Harry (1941) the following year. It's a story where she has to choose which of three men she wants to marry. Through the rest of the 1940s and early 1950s she continued to make movies but not near the caliber before World War II. After Oh, Men! Oh, Women! (1957) in 1957, Ginger didn't appear on the silver screen for seven years. By 1965, she had appeared for the last time in Harlow (1965). Afterward, she appeared on Broadway and other stage plays traveling in Europe, the U.S., and Canada. After 1984, she retired and wrote an autobiography in 1991 entitled, "Ginger, My Story".
On April 25, 1995, Ginger died of natural causes in Rancho Mirage, California. She was 83.- She attended grammar school in Portland, Oregon until her family moved to Fort Worth, Texas, where she graduated from Fort Worth Polytechnic High School. Shortly afterward she proceeded to New York City to become a model. She graced the cover on many national magazines, and was selected as the model for the Chesterfield Girl, and her likeness appeared on Chesterfield ads and billboards across the United States. She won the "Miss America Aviation" crown in Birmingham, Alabama, which led her to being hired as a hostess/model for Trans-World Airlines (TWA) before being signed to a contract at Paramount Pictures.
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Glenda Farrell began as the archetypal wisecracking blonde in 1930s gangland films like Little Caesar (1931) and I Am a Fugitive from a Chain Gang (1932). Diminutive, grey-eyed and undeniably sassy, she was a seasoned performer long before Warner Brothers snapped her up as a contract player in 1929. She made her debut on the stage as a 7 year-old playing Little Eva in "Uncle Tom's Cabin". Via provincial theatre Glenda eventually made her way to Broadway where she scored a palpable hit in "Life Begins" (later recreating her role for the screen). That attracted the Hollywood talent scouts and her movie contract followed in due course. Though seemingly destined for typecasting as hardboiled gangster molls, showgirls and gold diggers, it was her role as fast-talking, resourceful girl reporter Torchy Blane in her own series of films (beginning with Smart Blonde (1937)) that made her a star, albeit a minor one. She later recalled "Warners never made you feel you were just a member of the cast. They might star you in one movie and give you a bit part in the next...You were still well paid and you didn't get a star complex. We were a very close group..."
Glenda was also paired with another livewire, Joan Blondell, for a series of high octane, madcap farces which consistently made money at the box office. Inevitably, though, her roles became more and more repetitive. After her contract with Warner Brothers expired, she continued to appear with diminishing effectiveness in films for Universal (1938) and Columbia (1942-44). In the 50s, Glenda made the transition to more mature character roles, alternating screen work with Broadway plays -- pretty much throughout the remainder of her acting career -- eventually winning a Primetime Emmy Award in 1963 as Best Supporting Actress for the television series Ben Casey (1961). She took ill during a stage performance of "Forty Carats" in New York in 1969 and died at her home two years later. As the wife of a former U.S. Army colonel, Glenda became the only actress to be interred in the cemetery of West Point Military Academy.- Margaret Sheridan was born on 29 October 1926 in Los Angeles, California, USA. She was an actress, known for The Thing from Another World (1951), I, the Jury (1953) and The Diamond Wizard (1954). She was married to Paul Wellington Wildman and William F. Pattison. She died on 1 May 1982 in Orange, California, USA.
- The epitome of poise, charm, style and grace, beautiful brunette Barbara Rush was born in Denver, Colorado in 1927 and enrolled at the University of California before working with the University Players and taking acting classes at the Pasadena Playhouse. It didn't take long for talent scouts to spot her and, following a play performance, Paramount quickly signed her up in 1950, making her debut with The Goldbergs (1950).
Just prior to this, she had met fellow actor Jeffrey Hunter, a handsome newcomer who would later become a "beefcake" bobbysoxer idol over at Fox. The two fell in love and married in December 1950. Soon, they were on their way to becoming one of Hollywood's most beautiful and photogenic young couples. Their son Christopher was born in 1952.
While at Paramount, she was decorative in such assembly-line fare as When Worlds Collide (1951), Quebec (1951) and Flaming Feather (1952). She later co-starred opposite some of Hollywood's top leading males: James Mason, Montgomery Clift, Marlon Brando, Dean Martin, Paul Newman, Richard Burton and Kirk Douglas. In most cases, she played brittle wives, conniving "other women" or socialite girlfriend types.
Despite the "A" list movies Barbara was piling up, the one single role that could put her over the top never showed its face. By the early 1960s, her film career started to decline. She married publicist Warren Cowan in 1959 and bore a second child, Claudia Cowan, in 1964. TV became a viable source of income for her, appearing in scores of guest parts on the more popular shows of the time while co-starring in standard mini-movie dramas.
She even had a bit of fun playing a "guest villainess" on the Batman (1966) series as temptress "Nora Clavicle". The stage also became a strong focus for Barbara, earning the Sarah Siddons Award for her starring role in "Forty Carats". She made her Broadway debut in the one-woman showcase "A Woman of Independent Means", which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included "Private Lives", "Same Time, Next Year", "The Night of the Iguana" and "Steel Magnolias". Rush continued to occasionally appear onscreen, most recently in a recurring role on TV's 7th Heaven (1996). She died on March 31, 2024, aged 97. - Carroll Baker was born on May 28, 1931 in Johnstown, Pennsylvania, the daughter of a traveling salesman, William W. Baker. She attended community college for a year and then worked as a dancer and magician's assistant. After a brief marriage, she had a small part in Easy to Love (1953), did TV commercials, and had a bit part on Broadway. She studied at the Actors Studio and was married to director Jack Garfein (one daughter, Blanche Baker). Warner Brothers, sensing a future Marilyn Monroe, cast her in Giant (1956), Baby Doll (1956) (Oscar nomination for her thumb-sucking role), The Carpetbaggers (1964) and Harlow (1965) (title role). Moving to Italy, she made films there and in England, Germany, Mexico and Spain . After returning to American films, she married Donald Burton in 1982 and resided in Hampstead, London in the 1980s. They remained together until Burton's death from emphysema in their home in Cathedral City, California in 2007.
- Actress
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As Disney's lively lass Katie O'Gill, she was the freshness of spring. She could inspire you to dance a jig through a field of flowers. Her entrancing green eyes and catchy spirit had that kind of life-affirming effect. Cute, spunky, almond-eyed British actress Janet Munro was deemed to be an actress from day one as the daughter of Scottish stage and variety-hall comedian Alex Munro (1911-1986) (born Alexander Horsburgh). Janet Neilson Horsburgh was born in Blackpool (near Liverpool), Lancashire, England on September 28, 1934. Her entertainer father adopted the name Munro a few years after she was born. His wife, Janet's mother Phyllis, died when Janet was 8 and she was raised by his second wife, Lilias.
Janet first trained as a teenager in repertory theatre in the Lancashire area, and in the late 1950s she found popularity on British TV, even earning the title of "Miss Television of 1958" from a fan magazine. She also dabbled in films and had prominent roles in the breezy comedy Small Hotel (1957), the drama The Young and the Guilty (1959), and the creepy sci-fi/horror The Crawling Eye (1958) [aka The Trollenberg Terror].
Adaptable to both comedy and drama, the little charmer caught the eye of Walt Disney who saw big things for her, and she was signed to a five-picture deal in 1959. She made four. Appealing to a brand new generation of Britishers and Americans as the scrappy, brunette-banged ingénue of several box-office family films, she brightened up the screen with her performances in Darby O'Gill and the Little People (1959), Third Man on the Mountain (1959), and Swiss Family Robinson (1960).
The Golden Globe winner for "most promising newcomer" eventually outgrew Disney and tried to move ahead by altering her wholesome image with some mature, spicier roles, but audiences didn't respond well to this sudden departure. The idea of an adult Janet Munro playing overly-sexy ladies and seriously downtrodden women did not take and her career quickly faltered. Despite a BAFTA nomination for her role in Walk in the Shadow (1962), she began to see life unraveling both personally and professionally right before her eyes.
Janet's marriages to actors Tony Wright and Ian Hendry fell by the wayside and two miscarriages, plus chronic medical ills, only deepened her suffering. Worse yet, she developed an acute alcohol problem. Semi-retired from acting between 1964 and 1968 while married to Hendry in order to raise her children, she found the going difficult when she tried to return full-time.
Ironically, one of Janet's last screen roles showed her at her dramatic best, a boozing pop star in the British film Sebastian (1968). Four years later Janet died under somewhat mysterious circumstances. Reports circulated that she choked to death at a London hotel while drinking tea. The immediate cause of her death was acute myocarditis; the underlying cause was chronic ischemic heart disease. The sun set all too soon on this lovely actress when she was only 38. She was survived by her daughters, Sally and Corrie Hendry.- Actress
- Writer
Jennifer Jayne was born on 14 November 1931 in Yorkshire, England, UK. She was an actress and writer, known for The Crawling Eye (1958), Danger Man (1960) and They Came from Beyond Space (1967). She was married to Peter Mullins. She died on 23 April 2006 in London, England, UK.