DECEASED Actresses
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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.- Wendy Hiller, daughter of Frank and Marie Hiller, was born on 15th August 1912 in Bramhall, near Stockport, Cheshire, England. She was educated at Winceby House School, Bexhill then moved on to Manchester Repertory Theatre. She appeared on stage in Sir John Barry's tour of Evensong, then as Sally Hardcastle in Love on the Dole. She toured extensively, playing in London and New York. She took leading parts in Pygmalion and Saint Joan at the Malvern Festival in 1936.
- 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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A brash, sharp-tongued, incorrigible actress/singer who led a six decade career that contained many highs and lows, veteran Elaine Stritch's raucous six-decade career certainly lived up well to the Stephen Sondheim song lyrics "I'm Still Here." A popular, magnetic performer, she stole so many moments on stage she could have been convicted of grand larceny This tough old bird approached her octogenarian years with still-shapely legs, a puffy blonde hairdo, a deep, whiskey voice and enough sardonic bluster and bravado to convince anyone that she would be around forever.
The Detroit-born (February 2, 1925) Elaine Stritch was the daughter of a B.F. Goodrich executive, of Irish/Welsh heritage, and the youngest of three sisters. Educated locally at Sacred Heart Convent and Duschesne Residence Finishing School, she prepared for the stage at the Dramatic Workshop of the New School where fellow "school mates" included Marlon Brando. She made her first appearance at the New School as a tiger and a cow in a 1944 children's production entitled "Babino," then followed it the following year with the part of a parlor maid in "The Private Life of the Master Race."
Elaine made it to Broadway in October 1946 as "Pamela Brewster" in "Loco" at the Biltmore Theatre. Taking over the part of "Miss Crowder" in "Made in Heaven" after that, she finished off the decade appearing in such theatre productions as "Three Indelicate Ladies," "The Little Foxes" (as Regina), the revue "Angel in the Wings" and "Yes M'Lord."
From the 1950's on, Elaine would become the toast of both Broadway and (later) London's West End, earning award-worthy acclaim on both continents over the years. Starting with a tour of "Pal Joey" (as Melba) in 1952, she followed this success with such shows as "Call Me Madam" (as Sally); "On Your Toes" (as Peggy); "Bus Stop" (Tony nom: as waitress Grace), "The Sin of Pat Muldoon" (as Gertrude); "Goldilocks" (as Maggie); "Sail Away!" (Tony nom, and also London debut as Mimi); "Who's Afraid of Virginia Woolf?" (as Martha); "The King and I" (as Anna); "The Grass Harp" (as Babylove); "Wonderful Town" (as Ruth); "Private Lives" (as Amanda); "Mame" (as Vera, then Mame); "Company" (Tony-nom: as Joanne); "Small Craft Warnings" (as Leona); "The Gingerbread Lady" (as Evy); "Show Boat" (Drama Desk Award: as Parthy); and "A Delcate Balance" (Tony-nom, Drama Desk Award: as Claire). Through sheer personality alone, her cacophonous singing voice miraculously took classic songs from, among others, Richard Rodgers and Lorenz Hart to Noël Coward and Stephen Sondheim and put her own indelibly raucous stamp on them.
Oddly, Elaine never made the same kind of impact on film. Nevertheless, she appeared in an armful of supports over the years, growing increasingly abrasive, in such movies as The Scarlet Hour (1956), Three Violent People (1956), A Farewell to Arms (1957), The Perfect Furlough (1958), Kiss Her Goodbye (1959), Who Killed Teddy Bear (1965), Too Many Thieves (1966), The Sidelong Glances of a Pigeon Kicker (1970), The Spiral Staircase (1975), Providence (1977), September (1987), Cocoon: The Return (1988), Cadillac Man (1990), Out to Sea (1997), Krippendorf's Tribe (1998), Screwed (2000), Small Time Crooks (2000); Autumn in New York (2000), Monster-in-Law (2005), ParaNorman (2012) and River of Fundament (2014)
The actress fared somewhat better on early TV. She appeared as one of the Paynes in the early Dumont family comedy series The Growing Paynes (1948), and made appearances on several anthology series ("Kraft Theatre," "Goodyear Playhouse," "The Alcoa Hour," "The Dupont Show of the Month"). A few guest spots also decorated her small screen resume, including "Mister Peepers," "Adventures in Paradise" and "Wagon Train". In the 60's, Elaine returned to the series format, but only enjoyed single season life on three: My Sister Eileen (1960), as Ruth Sherwood; the acclaimed The Trials of O'Brien (1965) as lawyer Peter Falk's secretary "Miss G."; and as Ellen Burstyn's derisive mother on The Ellen Burstyn Show (1986).
In 1973, Elaine married English actor John Bay and moved to London. While there she appeared in a number of plays/musicals and then played an American authoress in the British comedy series Two's Company (1975) co-starring Donald Sinden as the butler. When she returned to America in the early 80's, she returned alone.
At age 76, a razor-sharp Elaine captivated audiences in a candid one woman musical stage memoir that would win her the Tony, Drama Desk, Obie, Outer Circle Critics and New York Drama Critics awards. Elaine Stritch at Liberty (2002) show also chronicled her notorious private life, combative nature, which included a long bout with the bottle (to curb her stage fright), and a destructive relationship with fellow alcoholic Gig Young. Add to that a fair share of Hollywood gossip all cleverly packaged up with raw wit and show-stopping patter songs and you had quintessential Elaine Stritch. Truly one of a kind, she would eventually be inducted into the American Theater Hall of Fame in 1995.
Other memorable TV appearances included her Aunt Polly in the mini-series Pollyanna (1973); a 1984 continuing role on the daytime soaper The Edge of Night (1956); the role of Ouisar in the TV movie version of Steel Magnolias (1990); and three Emmy Award-winning portrayals -- as a guest on "Law & Order," for the 2004 TV documentary of her one-woman triumph, and for a recurring character on the hit sitcom 30 Rock (2006).
A diabetic, it took stomach cancer to finally slow this woman down at the end, dying at age 89 on July 17, 2014, at her Michigan home.- Actress
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The lovely Susannah York, a gamine, blue-eyed, cropped-blonde British actress, displayed a certain crossover star quality when she dared upon the Hollywood scene in the early 1960s. A purposefully intriguing, enigmatic and noticeably uninhibited talent, she was born Susannah Yolande Fletcher on January 9, 1939 in Chelsea, London, but raised in a remote village in Scotland. Her parents divorced when she was around 6. Attending Marr College, she trained for acting at London's Royal Academy of Dramatic Art, winning the Ronson Award for most promising student. She then performed classical repertory and pantomime in her early professional career.
Making an impression on television in 1959 opposite Sean Connery in a production of "The Crucible" as Abigail Williams to his John Proctor, the moon-faced beauty progressed immediately to ingénue film roles, making her debut as the daughter of Alec Guinness in the classic war drama Tunes of Glory (1960). She emerged quickly as a worthy co-star with the sensitively handled coming-of age drama Loss of Innocence (1961), the more complex psychodrama Freud (1962), as a patient to Montgomery Clift's famed psychoanalyst, and the bawdy and robust 18th century tale Tom Jones (1963), with Susannah portraying the brazenly seductive Sophie, one of many damsels lusting after the bed-hopping title rogue Albert Finney.
Susannah continued famously both here and in England in both contemporary and period drama opposite the likes of Warren Beatty, William Holden, Paul Scofield and Dirk Bogarde. Susannah was a new breed. Free-spirited and unreserved, she had no trouble at all courting controversy in some of the film roles she went on to play. She gained special notoriety as the child-like Alice in her stark, nude clinches with severe-looking executive Coral Browne in the lesbian drama The Killing of Sister George (1968). A few years later, she and Elizabeth Taylor traveled similar territory with X, Y & Zee (1972).
Award committees also began favoring her; she won the BAFTA film award as well as Oscar and Golden Globe nominations for her delusional Jean Harlow-like dance marathon participant in the grueling Depression-era film They Shoot Horses, Don't They? (1969). Her crazy scene in the shower with Oscar-winner Gig Young was particularly gripping and just one of many highlights in the acclaimed film. She also copped a Cannes Film Festival award for her performance in Images (1972) playing another troubled character barely coping with reality. On television, she was Emmy-nominated for her beautifully nuanced Jane Eyre (1970) opposite George C. Scott's Rochester.
Susannah's film career started to lose ground into the 1970s as she continued her pursuit of challengingly offbeat roles as opposed to popular mainstream work. The film adaptations of Kurt Vonnegut Jr.'s Happy Birthday, Wanda June (1971) opposite Rod Steiger and Jean Genet's The Maids (1975) with Glenda Jackson were not well-received. Her performances in such films as Gold (1974), Conduct Unbecoming (1975) which starred another famous York (Michael York), That Lucky Touch (1975), Sky Riders (1976) and The Shout (1978) were overlooked, as were the films themselves. In the one highly popular movie series she appeared in, the box-office smashes Superman (1978) and its sequel Superman II (1980), she had literally nothing to do as Lara, the wife of Marlon Brando's Jor-El and birth mother of the superhero. While the actress continued to pour out a number of quality work assignments in films and television, she failed to recapture her earlier star glow.
Wisely, Susannah began extending her talents outside the realm of film acting. Marrying writer Michael Wells in 1960, she focused on her personal life, raising their two children for a time. The couple divorced in 1980. In the 1970s, she wrote the children's books "In Search of Unicorns" and "Lark's Castle". She also found time to direct on stage and wrote the screenplay to one of her film vehicles Falling in Love Again (1980). On stage Susannah performed in such one-woman shows as "Independent State", 'Picasso's Women", "The Human Voice" and "The Loves of Shakespeare's Women", while entertaining such wide and varied theatre challenges as "Peter Pan" (title role), "Hamlet" (as Gertrude), "Camino Real", "The Merry Wives of Windsor", "A Streetcar Named Desire", "Private Lives", "Agnes of God" and the title role in "Amy's View".
At the age of 67, Susannah showed up once again on film with a delightful cameo role in The Gigolos (2006), and seemed ripe for a major comeback, perhaps in a similar vein to the legendary Judi Dench, Maggie Smith and Helen Mirren. Sadly, it was not to be. Diagnosed with bone marrow cancer, the actress died on January 15, 2011, six days after her 72nd birthday. Her final films, Franklyn (2008) and The Calling (2009), proved that she still possessed the magnetism of her earlier years.- Brassy'n'beautiful blonde Roberta Collins was a terrific, dynamic and scene-stealing delight who greatly enlivened a bunch of choice down'n'dirty 1970s drive-in exploitation pictures with her earthy good humor, boundless vitality, superior acting ability, strong, forceful personality and smoldering sex appeal. Born on November 17, 1944, the tall, leggy, shapely and radiant Roberta first began acting in the late 1960s. Collins made a smashing impression as Alcott, a fiery'n'feisty prison inmate in Jack Hill's chicks-in-chains classic The Big Doll House (1971). Roberta was likewise fantastic as Belle, a bawdy, jovial, kittenish prison inmate in Jonathan Demme's marvelous tongue-in-cheek gem Caged Heat (1974) and hilarious as champion race car driver Matilda the Hun in the uproariously tasteless sci-fi black comedy hoot Death Race 2000 (1975). Other noteworthy parts include one of Claudia Jennings' bitter rivals in The Unholy Rollers (1972), Jean Harlow in the odd Train Ride to Hollywood (1975), Jim Brown's secretary in the outrageous blaxploitation riot Three the Hard Way (1974), a forlorn wayward prostitute in Tobe Hooper's excellent Eaten Alive (1976), a klutzy student driver in the hugely enjoyable car chase romp Speedtrap (1977), and a neurotic egocentric actress in Matt Cimber's outstanding The Witch Who Came from the Sea (1976). Alas, Roberta Collins' career ran out of gas and came to an unfortunate close in the 1980s, as such latter lesser credits as Hardbodies (1984), School Spirit (1985), and Hardbodies 2 (1986) all sadly confirm. However, Collins did contribute a typically fine and impressive turn as a tough prison security chief in the gritty babes-behind-bars revenge item Vendetta (1986). She also did guest spots on the TV shows The Rockford Files (1974), Kolchak: The Night Stalker (1974), Cade's County (1971), and Adam-12 (1968). Roberta Collins died at age 63 from an accidental overdose of drugs and alcohol on August 16, 2008.
- Lovely, buxom, and vivacious blonde bombshell Louisa Moritz was born as Luisa Cira Castro Netto on September 25, 1936 in Havana, Cuba. Many members of Louisa's family which include her father Luis, sister Aurora, and her older brother Rafael all worked in the law profession. Moritz left Cuba and moved to New York City during the upheaval of the 1950s. Louisa was inspired to change her last name from Castro to Moritz after seeing the St. Moritz Hotel in New York City. She arrived in NYC in July 1960, aged 23.
She began her acting career in TV commercials in the late 1960s. She made her debut in a TV commercial for Ultra-Ban spray deodorant and won both a Clio Award and an Andy Award for her work as a student driver in a TV commercial for American Motors. Louisa made her film debut in the lead role of young prostitute Carmela in The Man from O.R.G.Y. (1970). Perhaps best known to general audiences as the hooker Rose in the Oscar-winning classic One Flew Over the Cuckoo's Nest (1975), her most memorable roles included Sylvester Stallone's airhead navigator Myra in the cult science fiction black comedy Death Race 2000 (1975), cheery prostitute Flora in the delightful Sixpack Annie (1975), Officer Gloria Whitey in Up in Smoke (1978), hilarious as the aggressively lascivious Carmela in the uproariously raunchy teen comedy hoot The Last American Virgin (1982), and ditsy kleptomaniac Bubbles in the terrifically trashy babes-behind-bars treat Chained Heat (1983). Among the television programs Moritz appeared on are The Leslie Uggams Show (1969), The Joe Namath Show (1969), Love, American Style (1969), Ironside (1967), Happy Days (1974), M*A*S*H (1972), Chico and the Man (1974), The Rockford Files (1974), The Incredible Hulk (1978) and The Associates (1979).
Outside of acting, Moritz sold real estate, sung a song she specifically wrote about host Jay Leno on "The Tonight Show," and bought a hotel in Beverly Hills which she renamed the Beverly Hills St. Moritz. Although often cast as the generic dumb blonde in many films and TV shows (a part which she always played with great spirit and infectiously sweet good humor), Moritz in real life was the total radical opposite of this particular persona: She not only made the Deans List while studying for her law degree at the University of West Los Angeles, but won the American Jurisprudence Bancroft Whitney Prize for Contracts as well. She went on to become a lawyer in southern California, but was eventually disbarred for failing to provide certain quarterly reports. Louisa Moritz died at age 82 from cardiovascular disease on January 4, 2019 in Los Angeles, California. - Actress
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Well-endowed, attractive Joyce Jameson was typecast as "broads," "dames," and dizzy blondes -- somewhat in the vein of Barbara Nichols. In real life, she was said, like such other ditzy blondes as Judy Holliday and Jayne Mansfield, to have been the antithesis of her screen personae, a graduate in theatre arts from UCLA, highly intelligent and well-read.
Born in Chicago in 1927 (not 1932 as has been misreported) as Joyce Kingsley as per the Cook County, Illinois Birth Index, 1916-1935 (File Number 6045258), she began acting in films from 1951, after being 'spotted' at the small Cabaret Club by Steve Allen. At that time, she was already a seasoned performer on stage in musical revue, featured playing multiple parts in shows staged by her then-husband and mentor, Billy Barnes, initially at the Cabaret Club, then at the Las Palmas Theatre in Hollywood, and finally on Broadway.
After several small supporting bits on the big screen and the odd ghost-written TV script, Jameson's career gained momentum from the late 1950s. She was seen in better productions, such as Billy Wilder's The Apartment (1960). Adept at dialects and mimicry, Jameson made a name for herself on The Tonight Show Starring Jack Paar (1957) with a ventriloquist act, featuring her 'alter ego,' an imaginary dummy, unsurprisingly named "Marilyn." Jameson was said to have derived the idea of being subsumed by this 'other personality' from the British horror classic Dead of Night (1945). Reputedly still more uproarious, were her biting impersonations of Judy Garland, Grace Kelly, and, above all, Marlene Dietrich.
She may be most-fondly remembered for her first two cult Gothic horrors she made for Roger Corman, loosely based on stories by Edgar Allan Poe. Tales of Terror (1962), finds her (in story number two, 'The Black Cat') as perpetually inebriated Peter Lorre's philandering wife Annabel, who suffers the ignominious fate of being entombed alive in a wine cellar, alongside paramour Vincent Price. Her performance on the way to that demise -- at once funny and tragic -- amply demonstrated her ability to hold her own in a leading role opposite such dominant personalities as Lorre and Price. She was quite good (and certainly very decorative) in her second outing for Corman, The Comedy of Terrors (1963) albeit in a more typical role as decrepit Boris Karloff's ditzy daughter, Amaryllis Trumbull.
On television, she had a recurring spot on The Andy Griffith Show (1960) and guested in many classic series, including westerns and science fiction, though her forte was almost certainly comedy. Unable to escape her typecasting, she rarely got roles her acting talent would have justified. Jameson once commented acerbically in an interview, "Everyone expects to cast me as the dumb or victimized blonde. After they interview me, I can just hear them say, 'Hey! She's intelligent, but what do you do with it?'" (The Pittsburgh Press, July 27,1958).- Actress
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Born in Somerville, Massachusetts, on March 14, 1914, Harriet White Medin started out as a dental assistant and cleaned the teeth of young John and Robert Kennedy. After deciding to pursue work in the theater and playing a role on Broadway, she joined the USO and this led to her becoming the first American actress to relocate to post-war Italy and work in Italian films, beginning with Roberto Rossellini's Paisan (1946). Her following role was the lead in a dramatic film about the life of a saint, Genoveffa di Brabante (1947). She never found success as anything but a character actress and was often typecast as starchy, prim housewives and housekeepers. Orson Welles wanted her to play the role of Emilia in his Othello, but Harriet's inability to remain at the beck and call of Welles' shooting schedule forced him to recast the role with Fay Compton. When she realized that her acting career was at a standstill, she began working as a dialogue coach, helping Italian actors with their English. She became the personal assistant of Gina Lollobrigida in this respect for many years, and also assisted directors working in Italy, among them Vittorio De Sica, Joseph Losey, Raoul Walsh and John Huston. She witnessed some extraordinary things in film history, including the death of Tyrone Power on the set of Solomon and Sheba (for which she blamed George Sanders) and the filming of the famous Trevi fountain scene in La Dolce Vita (1960), in which she played Edna, Anita Ekberg's personal assistant. In the early 1960s, Harriet entered the Italian horror boom when they needed actors who could speak English, the better for the movies to seem British or American rather than Italian. She played the housekeepers in Riccardo Freda's _Orribile segreto del Dr. Hichcock, L' (1962), played important red herring parts in Bava's The Whip and the Body (1963) and Blood and Black Lace (1964), and also appeared in Elio Scardamaglia's The Murder Clinic (1966).
After assisting John Huston on Reflections in a Golden Eye, Harriet was persuaded by her friend, director Andrew Marton, to come and live in his guest house in Hollywood. One day, while doing the dishes, she decided that her marriage (to art director Gastone Medin) was over, and she accepted Marton's invitation by walking out on her old life, leaving the sink full of dirty dishes. After relocating to California, she did a fair amount of work in television (in addition to playing Henry Fonda's date in an episode of Family, she appeared on Bonanza, The A-Team, Northern Exposure and many other shows) and low-budget films. As a SAG member, she had to play the blind girl's mother in Schlock (1973) under the pseudonym of "Enrica Blankey." She also played the President of the United States in Death Race 2000 (1975), one of Linda Hamilton's diner customers in The Terminator (1984) and a grocery shopper in The Witches of Eastwick (1987). She narrated the trailer for George Romero's Hungry Wives (Season of the Witch).- Georgine Darcy was born on 14 January 1933 in Brooklyn, New York, USA. She was an actress, known for Rear Window (1954), Don't Knock the Twist (1962) and Mannix (1967). She was married to Byron Palmer, Edward Gelb and Jack Donohue. She died on 18 July 2004 in Malibu, California, USA.
- Judith Evelyn was born on 20 March 1909 in Seneca, South Dakota, USA. She was an actress, known for Rear Window (1954), Giant (1956) and Thriller (1960). She was married to Andrew Allan. She died on 7 May 1967 in New York City, New York, USA.
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Thelma Ritter appeared in high school plays and was trained at the American Academy of Dramatic Arts. In the 1940s she worked in radio. Her movie career was started with a bit part in the 1946 Miracle on 34th Street (1947). In the movie she played a weary Xmas shopper. Her performance in the short scene was noticed by Darryl F. Zanuck who insisted her role be expanded. During the period 1951 to 1963 Ms. Ritter was nominated for 6 Academy Awards. She is one of the most nominated actors who never won the statue. Shortly after a 1968 performance on The Jerry Lewis Show (1967), Ms. Ritter suffered a heart attack which proved fatal.- The daughter of a copper expert (William Stanley Eckert) and an actress and museum curator (May Davenport), character actress Anne Seymour was born on September 11, 1909 in New York City. She was the seventh generation of a theatrical family that could be tracked back to Ireland in 1740. Her great-uncle was the popular character actor Harry Davenport and her two older brothers were writer James Seymour (42nd Street (1933)) and actor John Seymour (The Sporting Club (1971)).
Anne trained for the stage at the American Laboratory Theatre School with Richard Boleslawski and Maria Ouspenskaya, and began her career performing with The Jitney Players. She, as did her brothers, eventually changed her stage moniker from Eckert to her mother's maiden name of Seymour. After touring throughout New England, Anne made her New York debut in Mr. Moneypenny in 1928. Other Broadway shows followed including At the Bottom (1930) and A School for Scandal (1931). The following year, she entered the world of radio drama. Her distinctively warm style and vocal timbre were perfect for playing some of radio's noblest, self-sacrificing heroines. She portrayed "Mary Marlin" for 11 popular seasons; it turned out to be her most identifiable role.
In the late 1940s Anne switched to film and made an auspicious debut as Lucy Stark in the Oscar-winning picture All the King's Men (1949). Although movie appearances would remain sporadic and relatively minor, Anne was a solid, capable player during the golden age of television and could be seen dressing up many glossy dramas, including Studio One (1948) and Robert Montgomery Presents (1950). Her rather hawkish, matronly features, which seemed in stark contrast to her smooth, modulated tones, nevertheless had her primarily playing benevolent roles as concerned relatives and professionals somewhat in the background.
In 1958, Anne earned strong marks for her portrayal of Sara Delano Roosevelt alongside Tony-winning Ralph Bellamy's FDR in "Sunrise at Campobello" on Broadway. She lost the 1960 movie role to Ann Shoemaker. Anne was actively involved on the SAG and AFTRA boards throughout a good portion of her career. Unmarried, she died in 1988 of natural causes after completing a small part in the popular film Field of Dreams (1989). - This actress' two-decade career produced only one single stand-out film role but that one role as the "good girl" who redeems "bad boy" Marlon Brando's tough biker in the cult flick The Wild One (1953) put Mary Murphy at the head of the acting class for one brief shining moment. In others, she proved a lovely distraction amid the male action surrounding her and also, given the right material, displayed obvious talent in both Grade "A" and "B" drama as the feminine co-star or second lead.
The beautiful blue-eyed brunet stunner was born on January 26, 1931, in Washington D.C. but quickly moved with her family six months later to Cleveland, Ohio. Her father, James, a businessman, died there in 1940, and her mother eventually moved Mary and her two brothers and sister (she was the youngest of the four) West to Southern California where Mary went on to attend University High School in the Los Angeles area, graduating in 1949. A one-time employee of Saks Fifth Avenue in Beverly Hills, the fresh-faced beauty was "discovered" at a café and signed by Paramount Studios.
Following insignificant bit/extra work in such movies as the Bob Hope's vehicles The Lemon Drop Kid (1951) and My Favorite Spy (1951), the sci-fi feature When Worlds Collide (1951), and "Best Picture" The Greatest Show on Earth (1952), Mary won the female lead opposite relative newcomer Tommy Morton in the show business drama Main Street to Broadway (1953). The film was ill-received and both stars were rather dwarfed by the huge names that surrounded them -- Tallulah Bankhead, Lionel Barrymore, Ethel Barrymore, Shirley Booth, Mary Martin and even Rodgers and Hammerstein. Her second lead in a film was a different story. the legendary The Wild One (1953) opposite Marlon Brando. Mary managed to hold her own in this biker classic but it did not, however, necessarily lead to better films. She continued in the demure ingénue mode in the Vincent Price sub-horror The Mad Magician (1954) and the routine western Sitting Bull (1954) which starred future husband Dale Robertson. The June 1956 marriage to Robertson was very short-lived; it was annulled by Christmas time.
Mary went on, however, to give earnest leading lady perfs opposite Tony Curtis in Beachhead (1954), Ray Milland's debut as a director, A Man Alone (1955) and Hell's Island (1955) with John Payne. She also appeared to good advantage in The Desperate Hours (1955) but was slightly overshadowed by powerhouse star cast of Humphrey Bogart, Fredric March, Arthur Kennedy, Gig Young and Martha Scott. From then on it was fairly dismal for Mary in such lesser features as The Maverick Queen (1956), The Electronic Monster (1958) and Live Fast, Die Young (1958), a lowbudget "Wild Ones" delinquent crimer as a girl who tries to save her sister from a life of crime.
Mary left the screen for a time but resumed her career in the 60s and early 70s primarily on TV with a number of episodics and mini-movies playing matronly wives and mothers and had a small but noticeable role in the film Junior Bonner (1972).
Remarried in 1962, Mary retired completely by the late 70s and turned to environmental causes. She also worked in a Los Angeles art gallery for a time and has been seen on occasion in nostalgia conventions. She died on May 4, 2011, of heart disease, in Beverly Hills. - Actress
- Composer
- Producer
Suzanne Somers was the third of four children born to Frank and Marion Mahoney. Her father worked loading beer onto boxcars, and her mother was a medical secretary. She grew up living in constant fear of being hurt or even killed at the hands of her verbally and physically abusive, alcoholic father. She was diagnosed with dyslexia when she was young, and was a poor student. She excelled, however, in the arts and was active in her school's theater program. She won a music scholarship to college, but became pregnant after six months. She married the baby's father, Bruce Somers, and her only child, Bruce Somers, was born in November 1965. She was unhappy in her marriage and began an affair with her former drama teacher. Her husband found out about it and the marriage ended after just two years, in 1967. A single mom, she turned to modeling in San Francisco to support herself and her son. She also distanced herself from her family because her older brother and sister by then were also alcoholics.
In 1968, she won a job as a prize model on a game show hosted by her future husband, Alan Hamel, who was married at the time. The two began dating, and she became pregnant while Hamel was still married. They came to the conclusion that Suzanne should have an abortion, from which she suffered severe complications for several days.
In 1971, her son Bruce was severely injured when he was hit by a car, and the therapist counseling him only charged the financially struggling Somers $1 per week. She underwent therapy herself to overcome the problems of her dysfunctional childhood. In the early 1970s, she landed minor roles in film and TV, and finally won a role on the series Three's Company (1976). She married Hamel in 1977. She was fired from the series after she asked for a raise at the beginning of the fifth season.
She then headed to Las Vegas, where she performed extensively in the mid-1980s. In 1986, she began writing her autobiography, "Keeping Secrets", which was later made into a TV movie. In 1991, she landed the role of "Carol Foster", opposite Patrick Duffy, on the TV series Step by Step (1991). After the end of that show, she began co-hosting Candid Camera (1992).- Actress
- Soundtrack
Mabel King is best-known for the role of Mama on the 1970's sitcom What's Happening!, but she also appeared in the films The Jerk with Steve Martin and The Wiz with Michael Jackson. Before What's Happening!, she portrayed the Wicked Witch of the West in the Broadway version of The Wiz.- Music Artist
- Actress
- Composer
With almost fifty years in the music business, Tina Turner became one of the most commercially successful international female rock stars. Her sultry, powerful voice, her incredible legs, her time-tested beauty and her unforgettable story all contributed to her legendary status.
Born to a share-cropping family in the segregated South, Anna Mae Bullock and her elder sister were abandoned by their sparring parents early on. After her grandmother's death, she eventually moved to St. Louis, Missouri to reunite with her mother. This opened up a whole new world of R&B nightclubs to the precocious 16-year-old. Called up to sing onstage with Ike Turner's Kings of Rhythm in 1956, she displayed a natural talent for performing which the bandleader was keen to develop. Soon, Anna Mae's aspirations of a nursing career were forgotten and she began to hang around with the group. When the singer booked to record "A Fool in Love" failed to turn up for the session, Ike drafted Anna Mae to provide the vocal with the intention of removing it later. However, once he heard her spine-tingling performance of the song, he soon changed his plans. He changed her name to Tina Turner, and when the record became a hit, Tina became a permanent fixture in Ike's band and his quest for international stardom. One thing led to another: they were married in Mexico after the births of Tina's two sons - the first a result of an earlier relationship with a musician, the second with Ike.
Before too long, the Ike and Tina Turner Revue was tearing up large and small R&B and soul venues throughout the early and mid-1960s. The hits were relatively few, but the unsurpassed energy and excitement generated by the live stage show, primarily Tina, made the Revue a solid touring act, along with the likes of James Brown and Ray Charles. Their greatest attempt to "cross over" came in 1966 with the historic recording of the Phil Spector production, "River Deep, Mountain High". While it was a commercial flop in the United States, it was a monster hit in Europe - and the start of Tina's European superstar status, which never faded during her long stint of relative obscurity in America in the late 1970s. The Revue entered that decade as a top touring and recording act, with Tina becoming more and more recognized as the star power behind the group's international success. Ike, while having been justly described as an excellent musician, a shrewd businessman and the initial "brains" behind the Revue, was also described (by Tina and others) as a violent, drug-addicted wife-beater who was not above frequently knocking Tina (and other women) around both publicly and privately. Despite hits such as "Proud Mary" and Tina's self-penned "Nutbush City Limits", further mainstream success eluded the group and Ike blamed Tina. After years of misery and a failed suicide attempt, Tina finally had enough in July 1976, when she fled the marriage (and the Revue) with the now-famous 36 cents and a Mobil gasoline credit card.
Tina, nearing 40, endured a long and, at times, humiliating trek back to superstardom through working many substandard gigs and performing a repertoire of current Top 40 hits and old Ike & Tina tunes in hotel ballrooms and supper clubs. She later admitted she was having the time of her life at this point, simply putting together her own show and performing. She refused to wrangle for a settlement from the divorce, despite being in huge debt to all the tour promoters she had let down by fleeing the Revue. After an appearance on Olivia Newton-John: Hollywood Nights (1980), Tina - in a wise business move - persuaded Newton-John's management team to take her on. With Roger Davies at her side, Tina's profile began to rise, and performances alongside the likes of Rod Stewart and The Rolling Stones introduced her to the rock market she so wanted to pursue.
The European release of her cover of Al Green's "Let's Stay Together" in 1983 was a major turning point in Tina's career. The record hit #6 on the British chart, and Capitol Records were soon demanding a full album. "Private Dancer" was hurriedly produced in England in two weeks flat. The rest is rock and roll history. The next single - "What's Love Got to Do with It?" - became Tina's first #1 single the following year, and the album hung around the Top 10 for months, spawning two further hits. At the 1985 Grammy Awards, her astonishing comeback was recognized with nominations in the rock, R&B and pop categories and rewarded with four trophies. After that time, the successes just kept coming: a starring role in Mad Max Beyond Thunderdome (1985); duets with Bryan Adams, David Bowie, Eric Clapton and Mick Jagger amongst others; several sell-out world tours; a string of hit albums and awards; a bestselling autobiography, "I, Tina"; and the blockbuster biopic What's Love Got to Do with It (1993) chronicling her life.
After her "Twenty Four Seven Millenium Tour" in 2000, Tina announced she would retire from the concert stage, but continue to record and play live on a smaller scale. Four years later, at age 65, she released a career retrospective entitled "All the Best" featuring new recordings, and reached #2 in the American album chart, her highest ever placing for an album there. She ended 2005 as one of five recipients of the Kennedy Center Honors, the highest form of recognition of excellence in the arts in America. Despite changing the direction of her working life, she will always be remembered as a dynamic live performer and recording artist, able to thrill audiences like no other woman in music history. Tina Turner is the undisputed Queen of Rock and Roll.- Actress
- Director
- Producer
She was born Lelia Vita Goldoni in New York City, of Sicilian ancestry, the daughter of an actor. After her family relocated to California, she spent her upbringing in Los Angeles and eventually attended L.A. City College to study Italian, English literature and psychology. After hours, she performed with the Lester Horton troupe of interpretive dancers. Aged nineteen, she moved back to New York to study drama at a workshop run by John Cassavetes and Burton Lane on West Forty-Sixth Street in Manhattan. Cassavetes gave Goldoni her first break by casting her in his independently produced avant-garde racial drama Shadows (1958) as the youngest of three African-American siblings living in a cramped New York apartment. The film focused on their various relationships, on human rather than racial issues. According to Ray Carney in his book 'The Films of John Cassavetes: Pragmatism, Modernism, and the Movies', "Cassavetes was opposed to the notion of art having a negative or satiric agenda, and to works that mocked or denigrated their characters." Carney further asserts that Goldoni "steals most of the scenes in which she appears, not only because her part is so much more emotionally expressive than anyone else's, but because Lelia Goldoni...is brilliantly able to use her face, voice and body to express the smallest flicker of feeling".
Goldoni received the first of her two BAFTA nominations for her role in Shadows. Her unaffected appearance in the picture also set the tone for her future look in subsequent roles. In her own words: "When you do not have regular features you must make the most of your individuality... I like a pale look with the accent on my eyes".
Her next appearance was in an episode of Johnny Staccato (1959), which starred Cassavetes as a jazz piano-playing private detective. Sandwiched in between TV guest spots (and based in Britain for some years) Goldoni headlined as a murderess in the Hammer-produced thriller Hysteria (1965) and then enjoyed a notably animated role pivotal to the gothic drama Theatre of Death (1967), starring opposite horror icon Christopher Lee. Upon her return to the U.S. in 1973, she played Ellen Burstyn's best friend Bea in Alice Doesn't Live Here Anymore (1974) (her second BAFTA nominated performance) and the girlfriend of tough-talking Abe Kusich (Billy Barty) in The Day of the Locust (1975), a bitter satire about failed aspirations in 1930s Hollywood. In the remake of Invasion of the Body Snatchers (1978), Goldoni played one of the alien infectees, duplicated as 'a pod person'. She was also a frequent guest star in episodic television, often in crime dramas like Vega$ (1978), Cagney & Lacey (1981), The New Mike Hammer (1984), L.A. Law (1986) and Cold Case (2003).
A lifelong alumnus of The Actor's Studio, Goldoni later taught acting technique at several institutions, including UCLA and the Lee Strasberg Theatre Institute. As to her own role models, she admitted to being a big fan of actor Stanley Tucci. Goldoni died at the age of 86 at The Actor's Fund Home in Englewood, New Jersey, on July 22 2023.- Actress
- Producer
- Writer
Jill Ireland was a British-American actress best known for her appearance as "Leila Kalomi," the only woman Mr. Spock ever loved (in the Star Trek (1966) episode, This Side of Paradise (1967)) and for her many supporting roles in the movies of Charles Bronson. She is also known for her battle with breast cancer, having written two books on her fight with the disease and serving as a spokesperson for the American Cancer Society.
Jill Dorothy Ireland was born in London on April 24, 1936, to wine merchant Jack Ireland and his wife Dorothy, who were fated to outlive their daughter. Young Jill started her entertainment career at age 16 as a dancer, and made her screen debut in 1955, in Michael Powell's Oh... Rosalinda!! (1955). On May 11, 1957, she married actor David McCallum, whom she met on the set of the Stanley Baker action picture Hell Drivers (1957). In the mid-'60s, they moved to the United States so McCallum could star as agent "Ilya Kuryakin" in the TV series The Man from U.N.C.L.E. (1964). She got steady work on American television and would co-star with her husband in five episode of the series in 1964, 1965 and 1967.
Ireland separated from McCallum, with whom she had two biological sons and one adopted son, in June 1965. He filed for divorce in August 1966, and it was finalized in February 1967. On October 5, 1968, she married Charles Bronson, who was 15 years her senior and still several years away from coming into his own as a leading man. They had first met when McCallum introduced them on the set of The Great Escape (1963). With Bronson, she had two children, a daughter born to the couple in 1971, and an adopted daughter. They first co-starred together in the 1970 French movie Rider on the Rain (1970), which made Bronson a major star in Europe (she had first played an uncredited bit part in his movie London Affair (1970), released that same year). They starred in 13 more pictures over the next 17 years, a period during which Bronson and Ireland rivaled Clint Eastwood and Sondra Locke as the most prolific screen couple. During her marriage to Bronson, Ireland appeared in only one TV episode, one TV movie and one theatrical picture that didn't star her husband.
She was diagnosed with cancer in her right breast in 1984 and underwent a mastectomy. She wrote about her battle and became an advocate for the American Cancer Society, which led to the organization giving her its Courage Award. Ireland was presented with the award by President Ronald Reagan. Tragically, she lost her battle with the disease after it metastasized and died at her home in Malibu, California, on May 18, 1990, aged only 54. She was survived by her husband, children, stepchildren, parents, brother, and extended family.- Actress
- Soundtrack
An accomplished and seasoned actress of stage and screen, Inga Swenson became best known for her portrayals of formidable, often acidulous women on TV. Arguably her most popular role was that of snarky Gretchen Wilomena Kraus, the German-born head housekeeper and later administrative assistant in Benson (1979). Inga was so convincing in her role (which earned her three Emmy Award nominations as Best Supporting Actress) that audiences assumed her to be German in real life, whereas she was actually of Scandinavian ancestry, the daughter of an attorney (Axel Carl Richard Swenson) and his wife (Geneva Pauline Swenson, née Seeger). After graduating from high school in Omaha, she attended Northwestern University in Evanston, Illinois, to study drama.
Inga made her screen debut in 1957. In her first feature films, the political drama Advise & Consent (1962) and in the biopic The Miracle Worker (1962), she played, respectively, a senator's wife and the mother of young Helen Keller. Thereafter, she divided her career between theatre and television. In the latter medium, she was mostly cast as supporting characters until a strong performance (as the evil housekeeper Ingrid Svenson) in the sitcom Soap (1977) led to her becoming a mainstay on the spin-off series Benson. A later role of note was that of Maude, matriarch of the Hazzard family in the sprawling North & South sagas, based on the novels by John Jakes.
On stage from 1949, Inga's first starring turn was ten years later in the historical play The First Gentleman, set during the Regency Period. Her diversity as a powerful lyric soprano subsequently came to the fore in the musical 110 in the Shade (1963), in which Inga headlined as Lizzie Currie, a role made famous by Katharine Hepburn in the dramatised film version The Rainmaker (1956). This, and her role as Irene Adler in Baker Street (1965), both won her Tony Award nominations. Other stage roles included Magnolia in Show Boat, Desdemona in Othello and Eliza Doolittle in My Fair Lady.
Inga retired from acting in 1998. From 1953, until her passing on July 23 2023 at the age of 90, she was married to Emmy Award-winning sound engineer Lowell Harris.- Actress
- Soundtrack
Suellyn Lyon was born in Davenport, Iowa, the youngest of five siblings born to Sue Lyon (née Karr) and James Lyon. Sue Karr Lyon was 42 years old when she was widowed, when Suellyn was just 10 months old. Her mother worked in a hospital to provide for her children, and money was tight. The family then moved to Los Angeles in hopes that Suellyn could help out financially as a model.
She duly got jobs modeling for JC Penney, and doing a commercial, which featured her bleached blonde hair. She landed small parts on Dennis the Menace (1959) and The Loretta Young Show (1953). Director Stanley Kubrick saw Sue on the show and suggested to his partner that they should see her for the role of Lolita (1962). She was signed by the Glenn Shaw agency, and Pat Holmes, an agent, brought her down to Kubrick for audition, and won the part of Lolita.
In 1964, Sue married Hampton Fancher III but the marriage, like the four that would follow, would end in divorce. She was appearing at the time in such movies as 7 Women (1965), The Flim-Flam Man (1967) and Tony Rome (1967). Her second husband was Roland Harrison, an African-American photographer and football coach. The controversy over their marriage made them decide to move to Europe. She continued in movies like Evel Knievel (1971), Game of Murder (1973), and Murder in a Blue World (1973), but wound up divorcing Harrison, in part due to the fallout over the controversy and other problems.
Sue met Gary "Cotton" Adamson at the Colorado State Penitentiary, where he was serving time for murder and robbery. She worked as a cocktail waitress and lived in a hotel in Denver nearby. She married him in 1973 and began working for prison reform and conjugal rights. Unfortunately this was another short-lived marriage as she divorced him after he committed yet another robbery. More films followed including Smash-Up on Interstate 5 (1976), The Astral Factor (1978), Towing (1978), Crash! (1976), Don't Push, I'll Charge When I'm Ready (1971) and her final film, Alligator (1980).
Sue married Edward Weathers in 1983, but the marriage ended a year later. She married a radio engineer, Richard Rudman, but that marriage, like the four before it, ended in divorce.
Sue Lyon died in 2019, aged 73. She was survived by her only child, a daughter, Nona Harrison (from her marriage to Roland Harrison).- Actress
- Writer
Mary Pat Gleason was born on 23 February 1950 in Lake City, Minnesota, USA. She was an actress and writer, known for Intolerable Cruelty (2003), The Crucible (1996) and A Cinderella Story (2004). She died on 2 June 2020 in Burbank, California, USA.- Actress
- Director
As she inherited her love for the arts by her father, well-known playwright, actor, director and novelist Mario Peña, it is not hard to understand that actress Elizabeth Pena already had designs to become an actress by the time she was eight years old.
Born in Elizabeth, New Jersey on September 23, 1959, the petite (5' 2") actress was raised in New York City. Elizabeth's (and sister Tania's) parents, Cuban immigrants Mario and Estella Margarita Peña, would achieve a strong Latino reputation as the founders of the off-Broadway Latin-American Theatre Ensemble. They also encouraged Elizabeth's talent. In 1975, the young teenager became a founding member of the Hispanic Organization of Latin Actors, and two years later graduated from New York's High School of Performing Arts, now the Fiorello H. LaGuardia High School of Music and Art and Performing Arts.
Elizabeth found occasional work in repertory theater and in television commercials. Making her film debut in the independent Spanish-speaking feature El Super (1979), about Cuban refugees, she continued with playing a long line of independent and rebellious characters, which showed plenty of attitude and independence. Playing offbeat roles -- from a knife-threatening waitress to a disco queen -- she appeared in such early films as They All Laughed (1981) and Crossover Dreams (1985). Elizabeth's big break came in the form a support role in the hugely popular and entertaining comedy Down and Out in Beverly Hills (1986), co-starring Bette Midler, Richard Dreyfuss and Nick Nolte, in which she stole several scenes as the sultry, smoky-voiced, politically-minded maid Carmen.
Two consecutive short-lived television series came about around this time. Her first, the ensemble comedy Tough Cookies (1986), had her playing a police officer, and the second was the title housekeeper role in the sitcom I Married Dora (1987). High in demand now, Elizabeth continued to spice up both the big and small screen in such roles as Ritchie Valens' stepsister-in-law in the well-received biopic La Bamba (1987); a drug enforcement agent in the miniseries Drug Wars: The Camarena Story (1990); PTSD-suffering Tim Robbins' live-in girlfriend in the complex drama Jacob's Ladder (1990); and a dedicated legal secretary on the corporate drama series Shannon's Deal (1990) starring Jamey Sheridan.
Honors also came Elizabeth's way when she received the Independent Spirit and Bravo awards for the film Lone Star (1996), and four ALMA Awards for her performances in the television movie Contagious (1997), the films Tortilla Soup (2001) and Rush Hour (1998), and her regular role on the Latino drama series Resurrection Blvd. (2000).
Into the millennium, Elizabeth found steady employment on television with guest roles on Boston Public (2000), CSI: Miami (2002), Without a Trace (2002), Numb3rs (2005), Ghost Whisperer (2005), Charlie's Angels (2011), Prime Suspect (2011), Common Law (2012), and Modern Family (2009). One of her last roles was on the television series Matador (2014). She also found herself further down the credits in films such as On the Borderline (2001), Transamerica (2005), The Lost City (2005), Mother and Child (2009), The Perfect Family (2011), Plush (2013), and Grandma (2015). Three other films -- Girl on the Edge (2015), Ana Maria in Novela Land (2015), and The Song of Sway Lake (2018) -- were released posthumously. She also provided a voice in the popular Disney/Pixar animated film The Incredibles (2004).
A chronic alcohol problem severely hampered Elizabeth's life and she died suddenly from cirrhosis of the liver in Los Angeles, California on October 14, 2014, at age 55. She was survived by her second husband (from 1994), Hans Rolla, and their two children, son Kælan and daughter Fiona.- Actress
- Writer
- Soundtrack
If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961).- Actress
- Soundtrack
Sleek and striking Abby Dalton became a very familiar perky and sexy presence in 1960s TV households. Known not only for her award-worthy acting on TV comedy, she became an avid game-show panelist and appeared on a slew of TV's more popular programs. It might come as a surprise to some that she honed her wholesome sitcom personality only after apprenticing in Roger Corman cheap-jack cult movies -- sometimes as a juvenile delinquent. She was born Gladys Marlene Wasden on August 15, 1932 in Las Vegas, Nevada, and started working in the entertainment field as a teen magazine cover model, also appearing at times on record album jackets. An acting company member for writer/producer Roger Corman beginning in 1957, Abby made her dubious debut in the low-grade beatnik film, Rock All Night (1957), in which she and others are trapped and held hostage in a bar by a pair of killers. Corman continued to use her in his films, some with and some without billing, including Teenage Doll (1957), Carnival Rock (1957), Stakeout on Dope Street (1958), and the absurdly-titled The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957), in which she played Desir, a stalwart leader of Nordic women in search for men, after presumably losing their own at sea. Outside the Corman fold, she appeared in the equally low-budgeted and exploitable Cole Younger, Gunfighter (1958) and Girls on the Loose (1958). The blonde, toothy beauty fared much better on TV starting in the late 1950s, popping up on several TV's best known westerns (Have Gun - Will Travel (1957), Rawhide (1959), Maverick (1957), The Rifleman (1958), Sugarfoot (1957)). She eventually earned a steady role on Jackie Cooper's Hennesey (1959) series and both actors received Emmy nominations for their roles -- she playing his girlfriend. The TV couple "married" just before the demise of the sitcom in 1962. A higher degree of visibility was achieved when Abby won the role of Joey Bishop's pert-looking wife on The Joey Bishop Show (1961). She gave birth to a TV baby in 1963 (played by her real-life infant son, Matthew David Smith). Her daughter, Kathleen Kinmont, also appeared on the program. Following the end of its four-season run, Abby engaged more fans to her corner by appearing regularly on the game show circuit. She showed off a delightfully off-the-cuff humor and sexy edge as a mainstay panelist, alongside Cliff Arquette, Wally Cox, and Rose Marie, on The Hollywood Squares (Daytime) (1965) and was located in the lower middle square for about four seasons before leaving her then-permanent post in 1970. During that time, she also played the "straight woman" in a number of sketch sequences for Jonathan Winters on his show, playing Margaret, his wife. The series, however, was rather short-lived (1967-1969). The only film she made during the 1960s was as "Calamity Jane" opposite Don Murray's Wild Bill Hickok and Guy Stockwell's Buffalo Bill Cody in a lackluster remake of the Gary Cooper starrer, The Plainsman (1966). For the most part, she focused on TV. Abby continued to be seen here and there throughout the 1970s. She might have enjoyed a major career boost as Hal Linden wife, Elizabeth, in the pilot of sitcom favorite Barney Miller (1975) had she stayed with it, but she was replaced by Barbara Barrie, when the show was picked up for its first season. Abby became part of the original cast of Falcon Crest (1981), a prime-time soap. As winery heiress Julia Cumson, Jane Wyman's daughter and Lorenzo Lamas' mother, she eventually shows her true colors as a murderous schemer. Coincidentally, Abby's daughter, actress Kathleen Kinmont, was later married for a time to "Falcon Crest" star Lorenzo Lamas. After leaving the show, she was seen only sporadically on TV and in films, including a short stint on a daytime soap. Her work continued until 1999, though she remained active in volunteer work. Twice married, her second to Jack Smith in 1960, produced three children, including daughter/actress Kathleen and son Matthew David. Her first marriage to Joe Mondragon ended in divorce in 1959.