Advanced search
- TITLES
- NAMES
- COLLABORATIONS
Search filters
Enter full date
to
or just enter yyyy, or yyyy-mm below
to
Only includes names with the selected topics
to
or just enter yyyy, or yyyy-mm below
to
1-50 of 916
- Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Actor
- Writer
- Director
Although his parents were never in show business, as a young boy Oliver Hardy was a gifted singer and, by age eight, was performing with minstrel shows. In 1910 he ran a movie theatre, which he preferred to studying law. In 1913 he became a comedy actor with the Lubin Company in Florida and began appearing in a long series of shorts; his debut film was Outwitting Dad (1914). He appeared in he 1914-15 series of "Pokes and Jabbs" shorts, and from 1916-18 he was in the "Plump and Runt" series. From 1919-21 he was a regular in the "Jimmy Aubrey" series of shorts, and from 1921-25 he worked as an actor and co-director of comedy shorts for Larry Semon.
In addition to appearing in two-reeler comedies, he found time to make westerns and even melodramas in which he played the heavy. He is most famous, however, as the partner of British comic Stan Laurel, with whom he had played a bit part in The Lucky Dog (1921). in the mid-1920s both he and Laurel wee working for comedy producer Hal Roach, although not as a team. In a moment of inspiration Roach teamed them together, and their first film as a team was 45 Minutes from Hollywood (1926). Their first release for Roach through MGM was Sugar Daddies (1927) and the first with star billing was From Soup to Nuts (1928). They became a huge hit as a comedy team, and after several years of two-reelers, Roach decided to star them in features, their first of which was Pardon Us (1931).
They clicked with audiences in features, too, and starred in such classics as Way Out West (1937), March of the Wooden Soldiers (1934) and Block-Heads (1938). They eventually parted ways with Roach and in the mid-1940s signed on with Twentieth Century-Fox.
Unfortunately, Fox did not let them have the autonomy they had at Roach, where Laurel basically wrote and directed their films, though others were credited, and their films became more assembly-line and formulaic. Their popularity waned and less popular during the war years, and they made their last film for Fox in 1946.
Several years later they made their final appearance as a team in a French film, a troubled and haphazard production eventually, after several name changes, called Utopia (1950), generally regarded to be their worst film. Hardy appeared without Laurel in a few features, such as Zenobia (1939) with Harry Langdon, The Fighting Kentuckian (1949) in a semi-comedic role as a frontiersman alongside John Wayne and Riding High (1950), in a cameo role. He died in 1957.- Director
- Additional Crew
- Art Director
James Whale was an English film director, theatre director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). He also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936).
In 1931 Universal Pictures signed him to a five-year contract and his first project was Waterloo Bridge (1931). Based on the Broadway play by Robert E. Sherwood, the film starred Mae Clarke. That same year Universal chief Carl Laemmle Jr. offered Whale his choice of any property the studio owned. Whale chose Frankenstein (1931), mostly because none of Universal's other properties particularly interested him and he wanted to make something other than a war picture.
In 1933 Whale directed The Invisible Man (1933), based on the book by H.G. Wells. Shot from a script approved by Wells, the film blended horror with humor and confounding visual effects. It was critically acclaimed, with "The New York Times" listing it as one of the ten best films of the year, and it broke box-office records in cities across America. So highly regarded was the film that France, which restricted the number of theaters in which undubbed American films could play, granted it a special waiver because of its "extraordinary artistic merit". Also in 1933 Whale directed the romantic comedy By Candlelight (1933). He directed Bride of Frankenstein (1935), a sequel of sorts to "Frankenstein", which Whale was somewhat apprehensive about making because he feared being pigeonholed as a horror director. "Bride" hearkened back to an episode from Mary Shelley's original novel in which the Monster promises to leave Frankenstein and humanity alone if Frankenstein makes him a mate. He does, but the mate is repelled by the monster who then, setting Frankenstein and his wife free to live, chooses to destroy himself and his "bride." The film was a critical and box office success. However, his next major project, The Road Back (1937), was a critical and financial disaster, and contributed to his retiring from the film industry in 1941.
Beset by personal, health and professional problems, James Whale committed suicide by drowning himself in the swimming pool of his Pacific Palisades (CA) home on 29 May 1957 at the age of 67. He left a suicide note, which his longtime companion David Lewis withheld until shortly before his own death decades later. Because the note was suppressed, the death was initially ruled accidental.- Actor
- Writer
- Director
Erich von Stroheim was born Erich Oswald Stroheim in 1885, in Vienna, Austria, to Johanna (Bondy), from Prague, and Benno Stroheim, a hatter from Gleiwitz, Germany (now Gliwice, Poland). His family was Jewish.
After spending some time working in his father's hat factory, he emigrated to America around 1909. Working in various jobs he arrived in Hollywood in 1914 and got work in D.W. Griffiths' company as a bit player. America's entry into WW1 enabled him to play sadistic monocled German officers but these roles dried up when the war ended. He turned to writing and directing but his passion for unnecessary detail such as Austrian guards wearing correct and expensively acquired regulation underwear which was never seen in 'Foolish Wives' caused the budget to reach a reported $1 million. Although the film became a hit the final edit was given to others resulting in a third of his footage being cut. Irving Thalberg fired him from 'Merry Go Round' which was completed by Rupert Julien. He then started on 'Greed', which when completed was unreleasable being 42 reels with a running time of 7 hours. It was eventually cut down to 10 reels which still had a striking effect on audiences. 'The Wedding March' was so long that even in it's unfinished state it was released as two separate films in Europe. Gloria Swanson fired him from her production of 'Queen Kelly' when with no sign of the film nearing completion the costs had risen to twice the budget partly due to him re-shooting scenes that had already been passed by the Hays office. She then had to spend a further $200,000 putting the footage into releasable state. It was the end for him as a director, but he made a reasonable success as an actor in the talkies.- Her father was a trumpeter with bands such as Paul Whiteman and Benny Goodman, and her mother was a former Ziegfeld Follies dancer. Judy studied ballet, music, and acting, won a "Miss Stardust" beauty contest in 1949, danced with the Copacabana chorus line. and was making bit appearances on television while still in high school. At age 17, she landed the part of Princess Summerfall Winterspring on the The Howdy Doody Show (1947) children's TV show, where she stayed for two years before resigning. She returned to stage work and was "rediscovered" in a play in 1956, "Pipe Dream", which landed her on the cover of "Life" magazine. She made two films, the last as Elvis Presley's co-star, Jailhouse Rock (1957). Three days after shooting completed, she and her second husband were driving home from Los Angeles to New York when he swerved to avoid hitting a truck and collided with another vehicle; she was dead at the scene, and he died the following morning of the injuries he sustained. Buried in Hartsdale, New York. No children by either marriage.
- Actress
- Soundtrack
From an early age her dream was to become an actress. Her first application for acting studies at The Royal Dramatic Theater in 1944 was unsuccessful. After additional dramatic coaching she was finally accepted in 1947. But screenwriter Edwin Blum arranged a screen test for RKO which eventually led to her being offered a contract with Universal Studios. It was a hard choice but she accepted and left her studies after one semester. In Hollywood she quickly made 10 movies, including Sirocco (1951) with Humphrey Bogart. From 1952 she accepted movie offers from Italy with more demanding roles. She married director Leonardo Bercovici on June 13, 1952, and gave birth to a daughter. In early 1957, she went back to Sweden for her stage debut in a play by J.B. Priestley. She died one month later, at the age of 30, of a brain hemorrhage.- Actor
- Writer
- Soundtrack
Gene Lockhart was born on July 18, 1891, in London, Ontario, Canada, the son of John Coates Lockhart and Ellen Mary (Delany) Lockhart. His father had studied singing and young Gene displayed an early interest in drama and music. Shortly after the 7-year-old danced a Highland fling in a concert given by the 48th Highlanders' Regimental Band, his father joined the band as a Scottish tenor. The Lockhart family accompanied the band to England. While his father toured, Gene studied at the Brompton Oratory School in London. When they returned to Canada, Gene began singing in concert, often on the same program with Beatrice Lillie. His mother encouraged his career, urging him to try for a part on Broadway. Lockhart went to America. At 25, he got a part in a New York play in September, 1917, as Gustave in Klaw and Erlanger's musical "The Riviera Girl." Between acting engagements, he wrote for the stage. His first production was "The Pierrot Players" for which he wrote both book and lyrics and played. It toured Canada in 1919 and introduced "The World Is Waiting for the Sunrise" (words by Lockhart, music by Ernest Seitz), which became a very popular ballad.. "Heigh-Ho" (1920) followed, a musical fantasy with score by Deems Taylor and book and lyrics by Lockhart. It had a short run (again, with him in the cast). Lockhart's first real break as a dramatic actor came in the supporting role of Bud, a mountaineer moonshiner, in Lula Vollmer's Sun Up (1939). This was an American folk play, first presented by The Players, a theatrical club, in a Greenwich Village little theater in 1923. After great notices it moved to a larger house for a two-year run. During this engagement, in 1924 at the age of 33, Lockhart married Kathleen Lockhart (aka Kathleen Arthur), an English actress and musician. Gene meanwhile also appeared in a series of performances presented by The Players in New York theaters: as Gregoire in "The Little Father of the Wilderness"; as Waitwell in "The Way of the World," as Gumption Cute in "Uncle Tom's Cabin", and as Faust in "Mephisto." The Lockharts' daughter, June Lockhart, was born in 1925. She would eventually appear regularly in the television series Lassie (1954) and Lost in Space (1965). In 1933, Gene and Kathleen were featured in "Sunday Night at Nine," a radio program presented at New York's Barbizon-Plaza Hotel. Meanwhile, Lockhart was keeping busy writing articles for theatrical magazines and a weekly column for a Canadian publication, coaching members of New York's Junior League in dramatics, lecturing on dramatic technique at the Julliard School of Music, and directing a revival of "The Warrior's Husband"--a formidable schedule. It amused him as he said that, "in spite of [the amount of work in a typical day] I don't get thin." Lockhart had by this time taken on the appearance that audiences would see again and again in films--short and plump with a chubby, jowly face and twinkling blue eyes. In 1933, he played Uncle Sid in the Theatre Guild's production of Eugene O'Neill's comedy "Ah, Wilderness!" co-starring George M. Cohan. This was the role that was to bring Lockhart stardom and lead to a contract with RKO Pictures and his first film, By Your Leave (1934). O'Neill wrote to Lockhart: "Every time your Sid has come in for dinner I've wanted to burst into song, and every time you've come down from that nap I've felt the cold gray ghost of an old heebie-jeebie." The acclaim for his acting in "Ah, Wilderness!" allowed Lockhart to proceed to Hollywood and remain there almost without interruption. However, he was back on Broadway in December, 1949, when he took over the part of Willy Loman in the New York production of "Death of a Salesman." Lockhart appeared in over 125 films. Though he often played upright doctors, judges and businessmen, and was in real life described as an amiable and gentle soul, Lockhart is perhaps best remembered on film as a villain who usually ends up cowering in a corner whimpering pitifully before getting his just desserts, a scene he played to the hilt in such movies as Algiers (1938) (for which he was nominated for an Oscar), Blackmail (1939), Geronimo (1939), Northern Pursuit (1943), and Hangmen Also Die! (1943). Late on Saturday, March 30, 1957, Lockhart suffered a heart attack while sleeping in his apartment at 10439 Ashton Avenue in West Los Angeles. He was taken to St. John's Hospital and died on Sunday afternoon, March 31. He is buried in Holy Cross Cemetery.- Mexican character actor who achieved his greatest success in U.S. films. He was born in Mexico city, living in numerous places throughout the country. He received a private education in Houston, Texas as a teenager, but dropped out and roamed about doing an assortment of jobs. His family, however, brought him back to Mexico City, where he subsequently found work in the struggling Mexican film industry. He appeared in many Mexican films before director John Huston offered him the role of Gold Hat in The Treasure of the Sierra Madre (1948). Bedoya stole the scenes in which he appeared as the smiling cutthroat and delivered the famous line about not needing any "stinking badges". He made a number of popular films in the U.S. in the next nine years, but a drinking problem destroyed his health. He died of a heart attack at the age of 53.
- British character actress, on stage from 1894. Her many notable theatrical appearances include "Little Lord Fauntleroy" at the Prince's Theatre in Bristol, and, as Lady McClean, in "Escape Me Never" at the Apollo in London (1933) - a part she subsequently took to Broadway two years later. Until well into her seventies, Katie's screen career consisted almost exclusively of smallish parts, until she was cast as sweet, frail Mrs. Wilberforce in the classic Ealing comedy The Ladykillers (1955). A most quintessentially British role, it finds her in a crumbling boarding house with dodgy plumbing, surrounded by Victorian memorabilia, a parrot named General Gordon, and an assortment of genteel, but pixillated, old friends. Her innocence and moral fortitude ultimately precipitate the downfall of a gang of bank robbers, posing as a string quartet.
This was the defining role of Katie's career and it won her the 1955 BAFTA Award as Best Actress. She had another juicy role, as eavesdropping would-be sleuth Aunt Alice, in How to Murder a Rich Uncle (1957). Sadly, there was to be no more from this delightful scene stealer, as she passed away shortly after, at the age of 78. - Actress
- Producer
- Soundtrack
Norma Talmadge was born on May 26, 1895, in Jersey City, New Jersey. The daughter of an unemployed alcoholic and his wife, Norma did not have the idyllic childhood that most of us yearn for. Her father left the family on Christmas Day and his wife and three daughters had to fend for themselves. Her mother, Peggy, took in laundry to help make ends meet. By the time Norma was 14 she took up modeling. She was successful enough that she attracted the attention of studio chiefs in New York City (where the Vitagraph studio was located at the time). Norma landed a small role in The Household Pest (1910). With her mother's prodding, she landed other small roles with the studio in 1910, such as Uncle Tom's Cabin (1910), Love of Chrysanthemum (1910), A Dixie Mother (1910) and A Broken Spell (1910). By 1911 she was improving as an actress, so much so that she landed a good part in A Tale of Two Cities (1911). By 1913 she was Vitagraph's most promising young actress. In August of 1915 Norma and her mother left for California and the promise of success in the fledgling film industry there. Her first film in Hollywood was Captivating Mary Carstairs (1915). The film was not only a flop but the studio that made it, National Pictures, went out of business.
During this time her sister, Constance Talmadge, was working for legendary director D.W. Griffith. Constance managed to get Norma a contract with Griffith's company. Over the following eight months Norma made seven feature films and a few shorts. After the contract ran out, the family returned to the East Coast. In 1916 she met and married producer and businessman Joseph M. Schenck. With his backing they formed their own production company and turned out a number of films, the first of which was Panthea (1917). It was a tremendous hit, as was Norma. In 1920 the production company moved to Hollywood, where the big hits of the day were being produced. Her company produced hits such as The Wonderful Thing (1921), The Eternal Flame (1922) and The Song of Love (1923).
By 1928 Norma's popularity had begun to fade. Her film The Woman Disputed (1928) was a flop at the box-office. Her final film was Du Barry, Woman of Passion (1930). By that time "talkies" were all the rage, but Norma's voice did not lend itself to sound and she was out of work. She divorced Schenck and married George Jessel. Jessel had his own radio show and Norma was added to the cast to help its sagging ratings. She thought this might be the vehicle by which she would revive her stalled film career, but the show continued its decline and was ultimately canceled, and with it the hopes of rebuilding her shattered career. She was finished for good.
She divorced Jessel in 1939 and married Dr. Carvel James in 1946. She remained with him until she died of a stroke on Christmas Eve of 1957 in Las Vegas, Nevada. She was 62 and had been in a phenomenal 250+ motion pictures.- Actor
- Additional Crew
- Soundtrack
Round-faced and twinkling, George Cleveland had a 58-year career of stage, vaudeville, motion picture, radio and television acting. His first film was Mystery Liner (1934) with Noah Beery and he went on to appear in 150 others. However, he is best remembered as Gramps on the original Lassie (1954) TV series.- Actor
- Writer
- Soundtrack
Ned Sparks proved himself a top character support whose style would be imitated for decades to come. Although less remembered now, he was an inimitable cinematic player back in 1930s Hollywood. The nasal-toned, deadpan comedian Sparks was born Edward A. Sparkman in Guelph, Canada, and was raised for a time in St. Thomas, Ontario. He attended the University of Toronto and, after a period of soul-searching, decided upon acting. He began, believe it or not, as a honky-tonk balladeer in Dawson Creek, Alaska. In 1907, he went to New York and developed his stone-faced reputation in comic outings. His first film in 1915 did not lead to other offers, particularly during a black-balling incident as a one of the founding members of Actors Equity. In 1922, his movie career headed full steam, but it was the advent of sound with Ned's cynical tones, raspy whines and sour disposition that sparked a comfortable film niche, making close to 100 films in all. Gold Diggers of 1933 (1933), Going Hollywood (1933), the Caterpillar in the all-star Alice in Wonderland (1933), the Claudette Colbert and Louise Beavers version of Imitation of Life (1934) were just a few of his more noticeable roles. His cigar-chomping puss became so well-known at Warner Bros., in fact, that Walt Disney's short animated film Broken Toys (1935) had a Jack-in-the-Box character based exclusively on Ned's image. A few years later, when Disney made Mother Goose Goes Hollywood (1938), Ned's caricature played The Jester. In 1939, Tex Avery portrayed him as a hermit crab in Fresh Fish (1939). A radio favorite over the years, he performed alongside Bing Crosby quite frequently. His last disagreeable Hollywood role would be alongside James Stewart in Magic Town (1947). In 1957, he died of an intestinal blockage.- A delightfully irksome, viper-tongued presence who usually played older than she was, actress Cora Witherspoon began her five-decade career in New York playing an elderly lady in the 1910 production of "The Concert". She was 20 years old at the time. Born in 1890, the brown-haired, Louisiana-born character player continued on the Broadway stage after her successful debut and became a generally unsympathetic audience favorite in such popular shows as "Daddy Long Legs," "Lillies of the Field" and "The Awful Truth" for the next two decades.
She began dividing her time between theater and film in the early 1930s wreaking havoc and rattling the nerves of many a male and female star with her imperious gallery of class-conscious matrons, haranguing wives, acidulous spinsters and aggressive busybodies. Notable film contributions were her cryptic socialites in the quality comedies Libeled Lady (1936) and Personal Property (1937), both starring Jean Harlow. She was equally unpleasant in such dramatic fare as Dark Victory (1939), and played her patented society snoot to perfection in the Shirley Temple vehicle Just Around the Corner (1938). A particular standout, and the movie role she is probably best remembered for, was her untidy, henpecking wife Agatha Sousé in the comedy classic The Bank Dick (1940), the prime source of W.C. Fields' misery.
Though her home base was in New York City where she continued to perform in the theater, she made her living commuting to Hollywood in the post-war years, ending her career with brief appearances on TV. She died in 1957 at age 67 in New Mexico. - Actress
- Additional Crew
- Soundtrack
Sheila Terry was born Kathleen Eleanor Mulhern on March 5, 1910 in Warroad, Minnesota. Despite her Irish surname, one of her ancestors was John Wycliffe, who had translated the Bible into English. Kathleen dreamed of being an actress from a very young age. When she was a teenager, she studied dramatics at the Dickson Kenwin Academy of Dramatic Art in Toronto. She began her career acting in stock companies. Unfortunately, her wealthy uncle wanted her to become a teacher instead of an actress. She returned to Minnesota and taught school for a brief time so she could claim her inheritance.
On August 16, 1928, she married Laurence Clark, a banker. Then she moved to New York City and was cast in the play The Little Racketeer. A talent scout saw her in the play, and she was signed by Warner Brothers. In 1932, she made her film debut in the comedy Week-End Marriage (1932). She had small roles in more than a dozen films including Scarlet Dawn (1932) (starring Douglas Fairbanks Jr. and Nancy Carroll), Madame Butterfly (1932) (starring Cary Grant and Sylvia Sidney), and Convention City (1933) (starring Joan Blondell, Adolphe Menjou, and Mary Astor). The blue-eyed blonde was John Wayne's leading lady in the westerns Haunted Gold (1932), The Lawless Frontier (1934), and 'Neath the Arizona Skies (1934). Her marriage to Laurence Clark ended in 1934. She claimed he often criticized her and said she was a "rotten singer". She married William McGee, a San Francisco millionaire, in October 1937, but that union was short-lived.
Unhappy with the roles she was getting, she decided to quit acting. Her final film was the drama I Demand Payment (1938). Then she moved back to New York City and started a new career as a press agent. She had brief romances with actor John Warburton and producer Tay Garnett. In a 1948 interview she said she wanted to start acting again. As she got older she suffered financial problems and depression. On January 19, 1957, she committed suicide by taking an overdose of pills. She was only 49. Impoverished, she was buried at Potter's Field in New York City.- Director
- Writer
- Producer
Director Max Ophüls was born Max Oppenheimer in Saarbrücken, Germany. He began his career as a stage actor and director in the golden twenties. He worked in cities such as Stuttgart, Dortmund, Wuppertal, Vienna, Frankfurt, Breslau and Berlin. In 1929 his son Marcel Ophüls was born in Frankfurt, Germany. He had begun to work under his pseudonym Max Ophüls by that time. In the early 1930s Ophüls discovered the movie world and began to work as an assistant director for Anatole Litvak. He directed his first movies (Dann schon lieber Lebertran (1931), Die verliebte Firma (1932)) in that time too. Around 1933 he emigrated to France and also worked in the Netherlands and Italy for a period of eight years. In 1941 he emigrated again, this time to the USA where he worked for a period of 10 years before he went back to France in 1950. Beginning in 1954 he also worked in Germany again, mainly for German radio in Baden-Baden. Max Ophüls died in March 1957 in Hamburg, Germany and is buried on the famous cemetery Père-Lachaise in Paris, France.- Josephine Sherwood changed her name after marrying stage actor Shelly Hull in 1910. She studied drama at Radcliffe College -- much to the dismay of her parents -- and first worked on the stage in a stock company in Boston. Her husband died in 1919, aged 35, of Spanish influenza. Josephine left the stage for three years and never re-married but resumed her theatrical career with renewed vigour from 1923. Short and dumpy of stature and with a distinctively brittle delivery, Josephine possessed an undeniable stage presence as well as exquisite timing. On Broadway, she alternated between comedy and drama. One of her best performances was as a member of the balmy Vanderhof family in You Can't Take It with You (1938) (the film version by Frank Capra came out two years later).
She is most fondly remembered for two indelible theatrical enactments which she would later reprise on screen. First, she was the sweetly homicidal Abby Brewster in the farce 'Arsenic and Old Lace', who, with her sister Martha (Jean Adair), sets about poisoning lonely old men with elderberry wine. The play ran on Broadway for three seasons (1941-44) and was a massive popular and critical hit with 1444 performances. The resulting 1944 motion picture was an equally resounding success and became one of Warner Brothers three biggest money-making films of the year. Josephine's second major role was that of Veta Louise Simmons, perpetually befuddled, beleaguered sister of Elwood P. Dowd (whose best friend is an imaginary rabbit) in Harvey (1950). This delightfully whimsical play by Mary Chase was an even greater smash hit, totalling 1775 performances between November 1944 and January 1949. Again, Josephine reprised her role on screen in 1950 and deservedly won the Academy Award for Best Supporting Actress that year. Critic Bosley Crowther commented "Josephine Hull plays Elwood's sister with such hilarious confusion and daft concern that she brings quite as much to the picture as does Mr.Stewart - or his pal to be sure...and it would be an unhappy screen version that did not contain her rotund frame, her scatter-brained fussing and fluttering and her angelic gentleness of soul" (New York Times, December 22 1950). Hardly surprising, then, that with so many years spent on the stage, Josephine Hull's screen career was not particularly prolific. She even got to first billing in the starring role of the theatrical version of 'The Solid Gold Cadillac' (1953-55), as Laura Partridge (later filmed with Judy Holliday in the lead).
Josephine died in New York in March 1957 of a brain hemorrhage, aged 80. - Actor
- Soundtrack
Best known for his work in slapstick comedy and detective whodunits, character actor Donald MacBride lent his serious, craggy mug and determined professionalism to scores of 30s and 40s crimers. Born in Brooklyn, he first appeared on the vaudeville and Broadway stages as a teenage singer in such shows as "George White's Scandals" and "Room Service." Taking a chance on Hollywood, he appeared in a few silents, then returned full time to films again in the 30s with a variety of interesting parts in over 100 comedies and dramas. These included the movie version of Room Service (1938) with the Marx Brothers, the flustered hotel manager in My Favorite Wife (1940), an ex-con and ringleader in High Sierra (1940) and an Irish politico in The Dark Horse (1946). However, his real prowess was playing by-the-book police inspectors and, while looking slightly less capable when at odds with a Charlie Chan, a Michael Shayne, or the Saint, he came off much more capable on his own in tracking down such hardened criminals as The Creeper. In the 50s he turned to TV as well, until his death in 1957.- Music Artist
- Actor
- Soundtrack
Undoubtedly, Pedro Infante was, and still is, the idol of Mexico. Because of his movies (59 including 55 leading roles and four cameos), records (366 songs recorded between 1943 and 1956) and public appearances in Mexico and Latin America, Infante became a star and the most beloved human being in Mexican history. His fame and the phenomenon of his stardom hasn't been matched by any movie star in the years following his death. The main reason for this can be found in the extraordinary quality of his acting, his beautiful singing and something called "charm" that can't be learned or acquired. He was a natural actor, perfectly matched with all his costars, no matter if they were male or female, children or grandmothers. Although practically all his films were great box-office hits and still are shown on a daily basis on TV, the most popular of them were the "trilogy of bittersweet poverty"--Nosotros los pobres (1948), Ustedes, los ricos (1948) and Pepe El Toro (1953) and the comedies Los tres García (1947), ¡Vuelven los García! (1947), Los tres huastecos (1948), A.T.M.: ¡¡A toda máquina!! (1951), ¿Qué te ha dado esa mujer? (1951) and Dos tipos de cuidado (1953). He was the good friend, the good son, the romantic in love, the caring father, the sexy singer, the "macho" with a heart. He was capable of moving the feelings of men and women who found in him someone closely related to their lives. His death in a plane crash in 1957 is still one of the most remembered events in recent Mexican history. His popularity has grown even greater since then, reaching generations of Mexicans born after their idol was gone.- Silent screen leading man in films from 1915-1932. He left films in 1932 due to the arrival of sound. He was hit by a car on September 13, 1951, never fully recovered from his injuries and died on December 2, 1957.
- Actor
- Soundtrack
You would think stage and film veteran Grant Mitchell was born to play stern authoritarians; his father after all was General John Grant Mitchell. But Mitchell would actually be better known for his portrayals of harangued husbands, bemused dads and bilious executives in 30s and 40s films. Born in Columbus, Ohio and a Yale post graduate at Harvard Law, Mitchell gave up his law practice to become an actor and made his stage debut at age 27. He appeared in many leads on Broadway in such plays as "It Pays to Advertise," "The Champion," "The Whole Town's Talking" and "The Baby Cyclone," the last of which was specially written for him by George M. Cohan (see "Other Works"). Mitchell's screen career officially got off the ground with the advent of sound, though he did show up in a couple of silents. The beefy, balding actor appeared primarily in "B" films, and actually had a rare lead in the totally forgotten Father Is a Prince (1940). From time to time, however, he enjoyed being a part of "A" quality classic films such as Mr. Smith Goes to Washington (1939), The Man Who Came to Dinner (1941), Laura (1944) and Arsenic and Old Lace (1944). Unmarried, he died at age 82 in 1957.- Additional Crew
- Producer
- Actor
Mayer was born Lazar Meir in the Ukraine and grew up in Saint John, New Brunswick, Canada after his parents fled Russian oppression in 1886. He had a brutal childhood, raised in poverty and suffering physical and emotional abuse from his nearly-illiterate peddler father. In the early 1890s, he changed his name to Louis and fudged his birth date to reflect the more "patriotic" date of July 4, 1885. He moved to Boston in 1904 and struggled as a scrap-metal dealer until he was able to purchase a burlesque house. Although he made large sums by showing films (he made a sizable fortune off The Birth of a Nation (1915)), his early business ventures favored legitimate theater in New England. As his theater empire expanded, he had acquired and refurbished enough small movie theaters that he was able to move his business to Los Angeles and venture into movie production in 1918. Along with Samuel Goldwyn and Marcus Loew of Metro Pictures, he formed a new company called Metro-Goldwyn-Mayer (MGM).
Over the next 25 years, MGM was "the Tiffany of the studios," producing more films and movie stars than any other studio in the world. Mayer became the prime creator of the enduring Hollywood of myth, home to stars like Clark Gable, Judy Garland, Joan Crawford, and Jean Harlow. Mayer became the highest-paid man in America, one of the country's most successful horse breeders, a political force and Hollywood's leading spokesman. Both he and MGM reached their peaks at the end of World War II, and Mayer was forced out in 1951. He died of leukemia in 1957.- Actor
- Director
- Soundtrack
Billy Bevan's show-business career began in his native Australia, with the Pollard theatrical organization. The company had two theater troupes, one which toured Asia and the other traveling to North America. Bevan wound up in the latter, performing in skits and plays all over Canada and Alaska then down into the continental US. While in a road company of the play "A Knight for a Day", Bevan was noticed by comedy pioneer Mack Sennett, who hired him on the spot. Bevan made many one- and two-reel shorts for Sennett over a ten-year period, and then transitioned into a reliable comic actor in many Hollywood comedies over the next 20 years or so (even doing voice-overs for cartoons). He made his last film in 1950, then retired. He died in Escondido, CA, in 1957.- Actor
- Soundtrack
Gus Schilling was born on 20 June 1908 in New York City, New York, USA. He was an actor, known for Citizen Kane (1941), The Lady from Shanghai (1947) and You Were Never Lovelier (1942). He died on 16 June 1957 in Hollywood, California, USA.- Actor
- Second Unit Director or Assistant Director
A character actor whose film career spanned from Hollywood's Silent Era until the 1950s. Born in Kansas City, Missouri, on September 11, 1882, Erville would start his film career in 1918 at the age of 36 in Her Man (1918). Film pioneer D.W. Griffith utilized Erville in many of his films, including 1924's America (1924) and Isn't Life Wonderful (1924). In 1926, Erville was in Sally of the Sawdust (1925), and for the first time, worked behind as well as in front of the camera, as the movie's Assistant Director. By the time talkies became the norm, Erville found his age and white hair earned him many "old codger" roles as everything from a sheriff to a blank clerk, although a lot of his roles fell into the the "uncredited" bit category. Despite this, he did manage to make his mark in several credited roles, with one of the best being his portrayal of Nate Tompkins in 1941's Sergeant York (1941). His last film role would be uncredited in 1957's The Spirit of St. Louis (1957), and on August 4, 1957, he would pass away at the age of 74 in Glendale, California.- Actress
- Soundtrack
Simone Silva was born Martha Simone de Bouillard in Cairo, Egypt. Her parents were French and Italian. At the age of eighteen she married Cecil Silver, a wealthy businessman, and moved to England. Simone started her career modeling for sexy pin-up photos. In 1950 she made her film debut in the French movie "Le Tampon du Capiston". Then she had bit parts in the British films "Bikini Baby" and "Bachelor In Paris". The voluptuous redhead struggled with her weight so she began crash dieting. She was cast in the big budget adventure "Hajji Baba" but was replaced before filming began. Her marriage to Cecil ended in 1954. That same year she costarred with Diana Dors in the drama "The Weak And The Wicked". Simone desperately wanted to become famous and claimed she would "do anything" to get in the papers. At the 1954 Cannes film festival she was awarded the honorary title of "Miss Festival 1954" and asked to pose for photos with actor Robert Mitchum. When the photographers started taking pictures she shocked them by stripping her top off.
The nude publicity stunt turned into a major scandal and she was asked to leave the festival. In an interview she said "I thought it would help my career. I wanted to go to Hollywood - and after all Marilyn Monroe became famous after she posed nude for a calendar. What was the harm in it?" She was signed by independent producer Al Petker and moved to Hollywood. Unfortunately she had trouble obtaining a work visa and began feuding with Petker over her salary. Simone was hospitalized in November 1954 due to stress and her eating disorder. Soon after she was forced to return to England. She landed a role in the 1956 low-budget crime picture "The Dynamiters". Then she appeared in two episodes of the television show "The Gay Cavalier". Tragically on November 30, 1957 she was found dead in her London apartment. Simone had died from a stroke caused by her rigorous crash-dieting. She was only twenty-nine years old.