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- Actor
- Writer
- Soundtrack
Emanuel Goldenberg arrived in the United States from Romania at age ten, and his family moved into New York's Lower East Side. He took up acting while attending City College, abandoning plans to become a rabbi or lawyer. The American Academy of Dramatic Arts awarded him a scholarship, and he began work in stock, with his new name, Edward G. Robinson (the "G" stood for his birth surname), in 1913. Broadway was two years later; he worked steadily there for 15 years. His work included "The Kibitzer", a comedy he co-wrote with Jo Swerling. His film debut was a small supporting part in the silent The Bright Shawl (1923), but it was with the coming of sound that he hit his stride. His stellar performance as snarling, murderous thug Rico Bandello in Little Caesar (1931)--all the more impressive since in real life Robinson was a sophisticated, cultured man with a passion for fine art--set the standard for movie gangsters, both for himself in many later films and for the industry. He portrayed the title character in several biographical works, such as Dr. Ehrlich's Magic Bullet (1940) and A Dispatch from Reuters (1940). Psychological dramas included Flesh and Fantasy (1943), Double Indemnity (1944), The Woman in the Window (1944)and Scarlet Street (1945). Another notable gangster role was in Key Largo (1948). He was "absolved" of allegations of Communist affiliation after testifying as a friendly witness for the House Un-American Activities Committee during the McCarthy hysteria of the early 1950s. In 1956 he had to sell off his extensive art collection in a divorce settlement and also had to deal with a psychologically troubled son. In 1956 he returned to Broadway in "Middle of the Night". In 1973 he was awarded a special, posthumous Oscar for lifetime achievement.- Actress
- Writer
- Director
Lillian Diana Gish was born on October 14, 1893, in Springfield, Ohio. Her father, James Lee Gish, was an alcoholic who caroused, was rarely at home, and left the family to, more or less, fend for themselves. To help make ends meet, Lillian, her sister Dorothy Gish, and their mother, Mary Gish, a.k.a. Mary Robinson McConnell, tried their hand at acting in local productions. Lillian was six years old when she first appeared in front of an audience. For the next 13 years, she and Dorothy appeared before stage audiences with great success. Had she not made her way into films, Lillian quite possibly could have been one of the great stage actresses of all time; however, she found her way onto the big screen when, in 1912, she met famed director D.W. Griffith. Impressed with what he saw, he immediately cast her in her first film, An Unseen Enemy (1912), followed by The One She Loved (1912) and My Baby (1912). She would make 12 films for Griffith in 1912. With 25 films in the next two years, Lillian's exposure to the public was so great that she fast became one of the top stars in the industry, right alongside Mary Pickford, "America's Sweetheart".
In 1915, Lillian starred as Elsie Stoneman in Griffith's most ambitious project to date, The Birth of a Nation (1915). She was not making the large number of films that she had been in the beginning because she was successful and popular enough to be able to pick and choose the right films to appear in. The following year, she appeared in another Griffith classic, Intolerance (1916). By the early 1920s, her career was on its way down. As with anything else, be it sports or politics, new faces appeared on the scene to replace the "old", and Lillian was no different. In fact, she did not appear at all on the screen in 1922, 1925 or 1929. However, 1926 was her busiest year of the decade with roles in La Bohème (1926) and The Scarlet Letter (1926). As the decade wound to a close, "talkies" were replacing silent films. However, Lillian was not idle during her time away from the screen. She appeared in stage productions, to the acclaim of the public and critics alike. In 1933, she filmed His Double Life (1933), but did not make another film for nine years.
When she returned in 1943, she appeared in two big-budget pictures, Commandos Strike at Dawn (1942) and Top Man (1943). Although these roles did not bring her the attention she had had in her early career, Lillian still proved she could hold her own with the best of them. She earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in Duel in the Sun (1946), but lost to Anne Baxter in The Razor's Edge (1946).
One of the most critically acclaimed roles of her career came in the thriller The Night of the Hunter (1955), also notable as the only film directed by actor Charles Laughton. In 1969, she published her autobiography, "The Movies, Mr. Griffith, and Me". In 1987, she made what was to be her last motion picture, The Whales of August (1987), a box-office success that exposed her to a new generation of fans. Her 75-year career is almost unbeatable in any field, let alone the film industry. On February 27, 1993, at age 99, Lillian Gish died peacefully in her sleep at her Manhattan apartment in New York City. She never married.- Actress
- Writer
- Soundtrack
Mae West was born August 17, 1893 in Brooklyn, New York, to "Battling Jack" West and Matilda Doelger. She began her career as a child star in vaudeville, and later went on to write her own plays, including "SEX", for which she was arrested. Though her first movie role, at age 40, was a small part in Night After Night (1932), her scene has become famous. A coat check girl exclaims, "Goodness! What lovely diamonds!", after seeing Mae's jewelry. Mae replies, "Goodness had nothing to do with it". Her next film, in which she starred, came the following year. She Done Him Wrong (1933) was based on her earlier and very popular play, "Diamond Lil". She went on to write and star in seven more films, including My Little Chickadee (1940) with W.C. Fields. Her last movie was Sextette (1977), which also came from a play. She died on November 22, 1980.- Actor
- Producer
- Director
Leslie Howard Steiner was born in London to Lilian (Blumberg) and Ferdinand "Frank" Steiner. His father was a Hungarian Jewish immigrant, and his English mother was of German Jewish and mostly English descent. Leslie went to Dulwich College, then worked as a bank clerk until the outbreak of World War I, when he went into the army. In 1917, diagnosed as shell-shocked, he was invalided out and advised to take up acting as therapy. In a few years, his name was famous on the stages of London and New York. He made his first movie in 1914: (The Heroine of Mons (1914)). He became known as the perfect Englishman (slim, tall, intellectual, and sensitive), a part that he played in many movies which set women to dreaming about him. His first sound movie came out in 1930: Outward Bound (1930), an adaptation of the stage play in which he starred. In Never the Twain Shall Meet (1931) and Smilin' Through (1932), he played the Englishman role to the hilt. His screen persona could perhaps best be summed up by his role as Sir Percy Blakeney in The Scarlet Pimpernel (1934), a foppish society gentleman.
It was Howard who insisted that Humphrey Bogart get the role of Duke Mantee in The Petrified Forest (1936), a role that Bogart had played in the stage production. As he became more successful, he also became quite picky about which roles he would do, and usually performed in only two films a year. In 1939, he played the character that will always be associated with him, that of Ashley Wilkes, the honor-bound, disillusioned intellectual Southern gentleman, in Gone with the Wind (1939).
However, war clouds were gathering over England, and he devoted all his energy on behalf of the war effort. He directed films, wrote articles and made radio broadcasts. He died in 1943, when the KLM plane he was in was shot down by German fighters over the Bay of Biscay.- Actor
- Director
- Producer
Conrad Veidt attended the Sophiengymnasium (secondary school) in the Schoeneberg district of Berlin, and graduated without a diploma in 1912, last in his class of 13. Conrad liked animals, theater, cinema, fast cars, pastries, thunderstorms, gardening, swimming and golfing. He disliked heights, flying, the number 17, wearing ties, pudding and interviews. A star of early German cinema, he became a sensation in 1920 with his role as the murderous somnambulist Cesare in Robert Wiene's masterpiece The Cabinet of Dr. Caligari (1920). Other prominent roles in German silent films included Different from the Others (1919) and Waxworks (1924). His third wife, Ilona (nicknamed Lily), was Jewish, although he himself wasn't. However, whenever he had to state his ethnic background on forms to get a job, he wrote: "Jude" (Jew). He and Lily fled Germany in 1933 after the rise to power of Adolf Hitler, and he became a British citizen in 1939. Universal Pictures head Carl Laemmle personally chose Veidt to play Dracula in a film to be directed by Paul Leni based on a successful New York stage play: "Dracula". Ultimately, Bela Lugosi got the role, and Tod Browning directed the film, Dracula (1931). In his last German film, F.P.1 Doesn't Answer (1932), Veidt sang a song called "Where the Lighthouse Shines Across the Bay." Although the record was considered a flop in 1933, the song became a hit almost 50 years later, when, in 1980, DJ Terry Wogan played it as a request on the Radio 2 breakfast show. That single playing generated numerous phone calls, and shortly thereafter the song appeared on a British compilation album called "Movie Star Memories" - a collection of songs from 1930s-era films compiled from EMI archives. The album was released by World Records Ltd., and is now out of print but can still be ordered online ("Where the Lighthouse Shines Across the Bay" is track 4 on side 2). Veidt appeared in Germany's first talking picture, Bride 68 (1929), and made only one color picture, The Thief of Bagdad (1940), filmed in England and Hollywood. His most famous role was as Gestapo Maj. Strasser in the classic Casablanca (1942); although he was not the star of the picture, he was the highest paid actor. He died while playing golf, and on the death certificate his name is misspelled as "Hanz Walter Conrad Veidt". Because he had been blacklisted in Nazi Germany, there was no official announcement there of his death. His ex-wife, Felicitas, and daughter Viola, in Switzerland, heard about it on the radio.- Actor
- Director
- Producer
Sir Cedric Hardwicke, one of the great character actors in the first decades of the talking picture, was born in Lye, England on February 19, 1893. Hardwicke attended the Royal Academy of Dramatic Art and made his stage debut in 1912. His career was interrupted by military service in World War I, but he returned to the stage in 1922 with the Birmingham Repertory Theatre, distinguishing himself as Caesar in George Bernard Shaw's Caesar and Cleopatra, which was his ticket to the London stage. For his distinguished work on the stage and in films, he was knighted by King George V in 1934, a time when very few actors received such an honor.
Hardwicke first performed on the American stage in 1936 and emigrated to the United States permanently after spending the 1948 season with the Old Vic. Hardwicke's success on stage and in films and television was abetted by his resonant voice and aristocratic bearing. Among the major films he appeared in were Les Misérables (1935), Stanley and Livingstone (1939), The Hunchback of Notre Dame (1939), Suspicion (1941), A Connecticut Yankee in King Arthur's Court (1949), and The Ten Commandments (1956).
His last film was The Pumpkin Eater (1964) in 1964. Cedric Hardwicke died on August 6, 1964 in New York City, New York.- Actress
- Soundtrack
After working as early as the 1910s as a band vocalist, Hattie McDaniel debuted as a maid in The Golden West (1932). Her maid-mammy characters became steadily more assertive, showing up first in Judge Priest (1934) and becoming pronounced in Alice Adams (1935). In this one, directed by George Stevens and aided and abetted by star Katharine Hepburn, she makes it clear she has little use for her employers' pretentious status seeking. By The Mad Miss Manton (1938) she actually tells off her socialite employer Barbara Stanwyck and her snooty friends. This path extends into the greatest role of her career, Mammy in Gone with the Wind (1939). Here she is, in a number of ways, superior to most of the white folk surrounding her. From that point her roles unfortunately descended, with her characters becoming more and more menial. She played on the "Amos and Andy" and Eddie Cantor radio shows in the 1930s and 1940s; the title in her own radio show "Beulah" (1947-51), and the same part on TV (Beulah (1950)). Her part in Gone with the Wind (1939) won her the Oscar for Best Supporting Actress, the first African American actress to win an Academy Award, it was presented to her by Fay Bainter at a segregated ceremony, she had to sit at the back away from the rest of the cast.- Actor
- Producer
- Director
Born in Burchard, Nebraska, USA to Elizabeth Fraser and J. Darcie 'Foxy' Lloyd who fought constantly and soon divorced (at the time a rare event), Harold Clayton Lloyd was nominally educated in Denver and San Diego high schools and received his stage training at the School of Dramatic Art (San Diego). Lloyd grew up far more attached to his footloose, chronically unemployed father than his overbearing mother.
He made his stage debut at age 12 as "Little Abe" in "Tess of d'Ubervilles" with the Burwood Stock company of Omaha. Harold and his father moved to California as a result of a fortuitous accident settlement in 1913. Foxy bought a pool hall (that soon failed) while Harold attended high school. The pair were soon broke when his father suggested he try out for a job on a movie being shot at San Diego's Pan American Exposition by the Edison Company. On the set he first met Hal Roach who would be the most influential person in his professional life. Roach (admittedly a poor actor) told Lloyd that someday he'd be a movie producer and he'd make him his star.
Soon afterward, Roach inherited enough money to begin a small production company (Phun Philms, quickly renamed Rolin, with a partner who he soon bought out) and contacted Lloyd to star in the kinds of films he wanted to make: comedies. On the basis of a handful of self-produced shorts starring Lloyd, he managed to land a production contract with the U.S. branch of the French firm, Pathe, who literally paid Roach by the exposed foot of film on what films were accepted. Things were touch and go in the beginning, with improvised scenarios, outdoor shoots meaning Pathe rejected several of their first efforts, resulting in missed paydays. During his first contract with Roach he appeared in "Will E. Work" and then "Lonesome Luke" comedies, essentially cheap variations of Charles Chaplin's Little Tramp character. He abandoned the character in disgust in late 1917, adopting his "glasses" persona, an average young man capable of conquering any obstacle thrown at him. He began cementing his new image with Over the Fence (1917), that ushered in a prolific number of shorts through late 1921, often releasing 3 per month. In his "glasses" personification, Lloyd's popularity grew exponentially with each new release, but Lloyd rapidly grew dissatisfied with his relationship with his producer. Roach and Lloyd fought constantly; it's not so much that he didn't want to work for Roach, he didn't want to work for anyone - a trait he himself recognized from early on. To be fair, Roach was increasingly preoccupied with other stars (The "Our Gang" series was launched to huge success in 1922 and he also produced ''Snub Pollard" shorts, among others) and although he would always resent Lloyd's attitude and ultimate defection to Paramount, the loss of his major star wouldn't financially cripple him. Lloyd had his own quirks; he fell in love with his first co-star Bebe Daniels, who left him after it became apparent he was unable to make a commitment (however the two would remain lifelong friends). Lloyd, in his own way was decidedly complex: he could be professionally generous (often allowing debatably deserving directorial credit to members of his crew) while being notoriously cheap. Yet he practiced little financial self control in anything that concerned himself. Wildly superstitious, he engaged in strict rituals about dressing himself, leaving through the same doors as he entered, and expected his chauffeurs to know which streets were unlucky to traverse. As his finances improved with age he happily indulged himself with a myriad of hobbies that would include breeding Great Danes, amassing cars, bowling, photography, womanizing, and high-fidelity stereo systems. He was open minded about homosexuals while being practically Victorian in his ideas about raising his daughters. He had an enormous libido and rumors abounded about illegitimate children and according to Roach, chronic bouts with VD. Most traumatically, he suffered the loss of his right thumb and forefinger in an accidental prop bomb explosion on August 14, 1919, just as his career was starting to take off. Lloyd would go to great lengths to hide his disability, spending thousands on flesh-colored prosthetic gloves and hiding his right hand whenever knowingly photographed, even long after his career ended. Upon his recovery he completed work on Haunted Spooks (1920) and successfully renegotiated his contract with Pathe, which began a career ascent that would rival Chaplin's (indeed, Lloyd was more successful, considering grosses on total output as Chaplin's output soon dwindled by comparison). Lloyd began feature film production with the 4-reel A Sailor-Made Man (1921). It began as a 2-reel short but contained, in his words, "so much good stuff we were loathe to take any of it out." It became a huge hit and continued to release hit features with ever increasing grosses but split with Hal Roach (who retained lucrative re-issue rights to his earlier films) after completing The Freshman (1925), one of his finest films. Pathe's U.S. operations quickly unraveled after their U.S. representative, Paul Brunet returned to France, and Lloyd made a decisive move (Roach himself would also leave Pathe, opting for a distribution deal with MGM - Mack Sennett, also distributed by Pathe, would be financially ruined). After weighing various attractive offers, Lloyd signed an advantageous contract with Paramount and racked up another hit with For Heaven's Sake (1926), one of his weakest silent features, yet it grossed an incredible $2.591 million, nearly equaling "The Freshman" and astonishing even himself.
Lloyd could do no wrong throughout the 1920s, he consistently earned at or near $1.5 million per film with his Paramount contract, and seemed invincible. He married his second co-star Mildred Davis on February 10, 1923 and she retired from acting (replaced by Jobyna Ralston). He built a huge 32-room mansion he christened, "Greenacres" that took over 3 years to complete and the couple eventually had 3 children. His final silent film, Speedy (1928), shot on location in New York, was one of the few major hits of the sound transition period and remains (as do most of Lloyd's films) thoroughly enjoyable today. The advent of sound proved problematic for the comedian. His films were gag-driven and his writing team was wholly unaccustomed to converting their type of comedy into dialog. While his first sound effort (began as a silent), Welcome Danger (1929) grossed nearly $3 million, by any standard it's a bad film, and marked a serious decline in Lloyd's screen persona; he became a talking comedian. Ironically, as bad as the film is, it would prove to be the last solid hit of his career. His next talkie, Feet First (1930), included a climb reminiscent (but technically superior to that) of his hit Safety Last! (1923), only being in sound, it contained every grunt and groan and proved painful to watch. With a gross of less that $1 million, Lloyd would see slightly over $300,000, his smallest feature paycheck to date, and it became clear he was in trouble. Lloyd fought back with Movie Crazy (1932). Generally regarded as his finest talkie, it grossed even less than "Feet First." Lloyd left Paramount for Fox and suffered his first outright flop with his next feature, The Cat's-Paw (1934), which grossed $693,000 against a negative cost of $617,000 ---resulting in red ink on a net basis. The miracle Harold Lloyd needed to salvage his career would never happen, but he refused to go down without a fight. Amazingly, the public was oblivious to his decline, and he was widely considered as one of the few silent comedy stars to have made a successful transition through the first decade of sound. But to those within the industry, the numbers didn't add up. Back at Paramount on a 2-movie deal, Lloyd starred in The Milky Way (1936), a better-than-average comedy that pulled a world-wide gross of $1.179 million, but it had production budget exceeding $1 million, resulting in a $250,000 loss for the studio. Paramount was livid, demanding a personal guarantee from Lloyd on anything over $600,000 for his next film, Professor Beware (1938). The comedian soon discovered he couldn't complete the film within the required budget and did something unprecedented --for him at least-- he invested his own money. The final production cost was $820,275 - and it grossed a mere $796,385 - and as a result of a complex payment deal, Lloyd ended up personally losing $119,400 on its initial release (he would eventually recoup the bulk of his losses over the next 35 years). At the relatively young age of 45, Harold Lloyd's Hollywood career was effectively over. Still immensely wealthy from a conservative investment strategy, and always hyperactive, he sought out ways to occupy his time, dragging his kids on marathon movie nights all across Los Angeles and falling back on his many hobbies. Foxy, who had handled the bulk of his correspondence (almost all Lloyd's pre-1938 autographs were actually signed by Foxy) and had carefully documented his press clippings since his acting career had began, retired to Palm Springs in 1938, leaving a void in Lloyd's life. He produced two pictures for RKO, A Girl, a Guy, and a Gob (1941), and a Kay Kyser vehicle, My Favorite Spy (1942) which must have looked good on paper but went nowhere at the box office. This ended his career as a producer. He would sign a $25,000 deal with Columbia in 1943 for a comeback project that never materialized. In 1944, Lloyd was approached by director Preston Sturges who envisioned a first-rate vehicle for him entitled, The Sin of Harold Diddlebock (1947). The production launched Sturges' new California Pictures, was financed by Howard Hughes, and initially released by United Artists. It proved to be a nightmare for everyone concerned. Its $1.7 million production cost proved to be an insurmountable obstacle preventing it from profitability and the eccentric Hughes withdrew it from circulation, later retitling it "Mad Wednesday," re-editing and re-releasing it as an RKO feature in 1951 to an even more dismal box office. Lloyd would also zealously protect ownership of his material and was quite litigious. He successfully sued MGM over their unauthorized poaching of his gags on a Joan Davis vehicle, She Gets Her Man (1945) (sadly an action that put the final nail in the professional coffin of the hopelessly alcoholic Clyde Bruckman). With his career at an end, Harold renewed his interest in photography and became involved with color film experiments. Some of the earliest 2 color Technicolor tests had been shot at Greenacres in 1929. In the late 1940s he became fascinated with color 3D still photography and often visited friends on film sets. Throughout the late 40s and well into the 1960s Lloyd indulged himself with glamor models. At his death, his collection of 3D stills numbered 250,000 (the vast majority of which are nudes). Recently his granddaughter published an elaborate book of photos carefully excised from the collection. In the late 1940s Lloyd became an active member of the Shriners (he'd joined originally in 1924) and an effective administrator for their Los Angeles crippled children's hospital. Harold is reported to be the only actor that owned most of the films he appeared in (sadly many of the earliest ones were destroyed in a nitrate fire in a vault at Greenacres in 1943). This ownership gave him the ability to withhold his films from being shown on television; Lloyd feared incorrect projection speed and commercials would damage his reputation. As a result, a generation of film fans saw very few of his films and his reputation was diminished. He did release 2 compilation films, of which the first, World of Comedy (1962) was very successful. Mildred descended into alcoholism in the 1950s and died in 1969. Lloyd occupied his time with extensive travel (he thoroughly enjoyed speaking engagements where he could interact with students on the subject of silent film) and continued his pathological passion for his hobbies through the end of his life. He became interested in high fidelity stereo systems and habitually ordered several record companies' entire annual catalogs, eventually amassing an LP collection rivaling most record stores. He enjoyed cranking music to volumes that caused the inlaid gold leaf on Greenacres' ceilings to rain down on anyone below. Conversely, he balked at modernizing anything inside the mansion, seeing improvements and redecorating as things that would survive him, and thus a complete waste of money. Lloyd was diagnosed with a recurrence of cancer by his brother-in-law, Dr. John Davis (Jack Davis, who starred in early "Our Gang" shorts) and died on March 8, 1971. His son, Harold Lloyd Jr. was an alcoholic homosexual and died soon afterward. Although Lloyd left an estate valued at $12 million (in 1971 dollars), he failed to make a provision for the maintenance of Greenacres, a blunder that would seriously complicate his estate. His granddaughter Suzanne Lloyd has been largely responsible for restoring his reputation of late, working to preserve his surviving films; many have been issued on HBO Video, Thames Video. Several have been superbly restored with new musical accompaniments and are shown periodically on TCM.- Actor
- Music Department
- Soundtrack
First wife Jeanne died in 1943. Wed second wife, Marjorie Little after 16 year courtship when she was 39 and he 67 Marjorie Little had been the hatcheck girl at the Copacabana. Durante and his second wife adopted a baby girl, Cecelia Alicia on Christmas day 1961. Durante doted on "CeCe" until his death.- Hope Landin was born on 3 May 1893 in Minneapolis, Minnesota, USA. She was an actress, known for I Remember Mama (1948), Scaramouche (1952) and New York Confidential (1955). She died on 22 February 1973 in Hollywood, California, USA.
- Actress
Brunette, buxom matinee idol Betty Blythe capitalised on the 'roaring 20's' infatuation with exotic screen sirens to achieve a brief period of stardom. She was, notoriously, one of the first actresses to ever appear nude (or in various stages of undress) on screen. It wasn't that Betty couldn't act, as well; in fact, she had studied art in Paris and at USC and had appeared on stage in a number of traditional plays like "So Long Letty" in both London and New York. In 1918, she joined a roommate on a visit to the Vitagraph Studio in Brooklyn and found immediate employment when one of the directors needed a leading lady. Two years later, she wound up in Hollywood, was signed by Fox Studios as a replacement for Theda Bara and became the protégée of J. Gordon Edwards (grandfather of Blake Edwards of 'Pink Panther' fame. She was eventually cast as the star of one of the most lavishly produced films of the decade, The Queen of Sheba (1921), directed, of course, by Edwards. Betty later recalled that she was given 28 costumes to wear, all of which would have fit comfortably into a shoe box. Alas, only a few stills of the movie survive, a fate shared by most of her other silent films.
Betty's career was put on hold when Edwards quarreled with Fox and left the studio. For a while, she freelanced, playing leads in films for lesser studios. She did have a couple of hits in England with Chu-Chin-Chow (1923) and She (1925), in addition to doing theatrical work, which helped her to smoothly make the transition from silent to talking pictures. By that time, however, public tastes had changed and Betty had aged sufficiently to be classified as a character actress. To her credit, she persisted and appeared in support in many an A-grade production, her swan song being a small role in the ballroom scene of My Fair Lady (1964).- Actress
- Soundtrack
Fay Bainter's career began as a child performer in 1898. For some time, she was a member of the traveling cast of the Morosco Stock Company in Los Angeles. In 1912, she made her Broadway debut in 'The Rose of Panama', but this and her subsequent play 'The Bridal Path' (1913), were conspicuous failures. She continued in stock and, after forming an association with David Belasco, took another swing at Broadway. She had her first hit with a dynamic performance, which established her as major theatrical star, as Ming Toy in 'East is West', at the Astor Theatre (1918-1920). Alternating between comedy and melodrama, Fay then shone in 'The Enemy' (1925-26) with Walter Abel and gave an outstanding performance of mid-life crisis as the desperate Fran Dodsworth ('Dodsworth',1934-35), opposite Walter Huston as her husband Sam. Fay never had the chance to recreate her stage role on screen - Ruth Chatterton got the part instead. At the same time, now aged 41, she was offered a role in her first motion picture, This Side of Heaven (1934). Co-starring opposite Lionel Barrymore, this was the first of many thoughtful, understanding wives, aunts and mothers she was to play over the next twenty years.
Of stocky build, with expressive eyes and a warm, slightly smoky voice, Fay rarely essayed unsympathetic or hard-boiled characters, with the exception of her Oscar-nominated dowager in The Children's Hour (1961). While not often top-billed, her name remained consistently high in the list of credits throughout her career. Critics applauded her sterling performances in productions like Make Way for Tomorrow (1937) and Quality Street (1937), as Katharine Hepburn's excitable spinster sister. Fay won the Academy Award as Best Supporting Actress for the movie Jezebel (1938). As Bette Davis' stern, reproving Aunt Belle, she excelled in a somewhat meatier role than the genteel or fluttery ladies she had previously been engaged to portray. That same year, she was also nominated (as Best Actress) for her housekeeper, Hannah Parmalee, in White Banners (1938), but lost to Bette Davis. Fay enhanced many more films with her presence during the 1940's, notably as Mrs. Elvira Wiggs, in Mrs. Wiggs of the Cabbage Patch (1942), Merle Oberon's eccentric aunt from the bayou in Dark Waters (1944) and Danny Kaye's mother in The Secret Life of Walter Mitty (1947). From the 1950's, she alternated stage with acting on television. Her last role of note was as Mary Tyrone in Eugene O'Neill's 'Long Day's Journey into Night', on tour with the National Company in 1958.- Actress
- Additional Crew
- Soundtrack
Connecticut-born Jean Dixon had an auspicious theatre debut: on a Parisian stage with Sarah Bernhardt while still a student at a French university. Upon her return to the U.S. in 1921, she made her Broadway debut, and thereafter appeared in many stage productions, on Broadway and across the country, before Hollywood called her in 1929. She most often appeared as the streetwise, smart-mouthed friend of the leading lady. Her most famous appearance would probably be as Molly in the classic screwball comedy My Man Godfrey (1936).- Actor
- Additional Crew
Howard Smith was born on 12 August 1893 in Attleboro, Massachusetts, USA. He was an actor, known for Death of a Salesman (1951), Kiss of Death (1947) and Don't Go Near the Water (1957). He was married to Mildred A. Barker and Lillian Boardman. He died on 10 January 1968 in Hollywood, California, USA.- Born Olga Vladimirovna Baklanova, one of six children of Vladimir Baklanoff and his wife Alexandra, later billed as the Russian Tigress in her early talking films, was born August 19, 1893. She graduated from the Cherniavsky Institute in Moscow prior to her selection in 1912 at age 19 to apprentice at the Moscow Art Theatre. During her early years at M.A.T. (1914-1918) she appeared in perhaps 18 films bringing her into contact with Tourjansky, Boleslawski and M. Chekov among others. Her last Russian film, Bread (1918) was the first communist agitprop vehicle. From 1917 she appeared in the "classics" on the parent stage and at the M.A.T. First Studio. Her mentor, Nemirovich-Danchenko, showcased her in avant-garde productions of the newly created M.A.T. Musical Studio from 1920-1925. She was honored with the Worthy Artist Of The Republic by the Soviet regime.
Eight months after her M.A.T. New York debut in December 1925, she declined to return with the M.A.T. company to Russia and subsequently defected. She was noticed by the Hollywood studios while performing on stage in Los Angeles in The Miracle in the role of the nun. Her film debut was a bit in The Dove (1927). Her dramatic Portrayals in The Man Who Laughs (1928), Street of Sin (1928), The Docks of New York (1928) and Forgotten Faces (1928) brought her critical acclaim in 1928. Her subsequent vamp/tramp roles in early Paramount and Fox talking films nearly destroyed her promising start. Stagey mannerisms and a heavy accent relegated her to supporting roles. She appeared to advantage in three films at MGM including the infamous Freaks (1932) with an unrestrained and legendary performance.
After appearing in west coast stage productions in 1931-32, she permanently left for the Broadway stage in 1933 following one last film at Paramount. From 1933 to 1943 she starred in various Broadway productions and then toured in road companies of Cat And The Fiddle, Twentieth Century, Grand Hotel and Idiot's Delight. She debuted on the London stage in 1936 in Going Places. One last big role in Claudia (1943) kept her busy for two years (1941-1943). She returned to Hollywood in 1943 to recreate her stage role. Some summer stock and occasional night club appearances followed as she moved into retirement.
During the mid-1960s Olga was interviewed by Richard Lamparski, Kevin Brownlow and John Kobal who all recognized her unique contributions in the performing arts. Her death occurred at Vevey, Switzerland on September 6, 1974 after a period of declining health. - Actor
- Soundtrack
A minor character actor who appeared in literally hundreds of films, actor Irving Bacon could always be counted on for expressing bug-eyed bewilderment or cautious frustration in small-town settings with his revolving door of friendly, servile parts - mailmen, milkmen, clerks, chauffeurs, cab drivers, bartenders, soda jerks, carnival operators, handymen and docs. Born September 6, 1893 in the heart of the Midwest (St. Joseph, Missouri), he was the son of Millar and Myrtle (Vane) Bacon. Irving first found work in silent comedy shorts at Keystone Studios usually playing older than he was and, for a time, was a utility player for Mack Sennett in such slapstick as A Favorite Fool (1915). Irving made an easy adjustment when sound entered the pictures and after appearing in the Karl Dane and George K. Arthur two-reel comedy shorts such as Knights Before Christmas (1930), began to show up in feature-length films. He played higher-ups on occasion, such as the Secretary of the Navy in Million Dollar Legs (1932), police inspector in The House of Mystery (1934), mayor in Room for One More (1952), and judge in Ambush at Cimarron Pass (1958), but those were exceptions to the rule. Blending in with the town crowd was what Irving was accustomed to and, over the years, he would be glimpsed in some of Hollywood's most beloved classics such as Capra's Mr. Deeds Goes to Town (1936), San Francisco (1936), You Can't Take It with You (1938) and A Star Is Born (1954). Trivia nuts will fondly recall his beleaguered postman in the Blondie (1938) film series that ran over a decade.
Irving could also be spotted on popular '50s and '60s TV programs such as the westerns Laramie (1959) and Wagon Train (1957), and "comedies December Bride (1954) and The Real McCoys (1957). He can still be seen in a couple of old codger roles on I Love Lucy (1951). One was as a marriage license proprietor and the other as Vivian Vance's doting dad from Albuquerque, to whom she paid a visit on her way to Hollywood with the Ricardos. Irving died on February 5, 1965, having clocked in over 400 features.- Actress
- Soundtrack
Ann Pennington was born in Wilmington, Delaware. Her family, who were Quakers, moved to Camden, New Jersey when she was a child. She took dancing lessons from ballerina Catherine Littlefield. At the age of seventeen she made her Broadway debut in the musical. She joined the Ziegfeld Follies in 1913. With her long, red hair and great legs she quickly became one of the show's most popular dancers. Her nickname was "The Girl With The Dimpled Knees." Ann became best friends with fellow dancer Fanny Brice. In 1916 she had a starring role in the silent movie Susie Snowflake. Then she appeared in the films The Rainbow Princess, The Antics of Ann, and Sunshine Nan. After six years with the Follies she left to join George's White's Scandals. She began a romance with the show's producer George White. Ann also dated actor Buster West and boxer Jack Dempsey.
While performing in the Scandals she introduced the Black Bottom Dance to Broadway audiences. She returned to the Ziegfeld Follies in 1923. By this time the petite dancer was earning more than $1000 a week. Off stage she was known for her great wit and her generosity. Her biggest vice was betting at the racetrack. In 1929 she appeared in five films including Tanned Legs and Gold Diggers Of Broadway. During the 1930s her popularity started to wane and she performed in vaudeville. Ann had bit parts in the films Unholy Partners and China Girl. Her final stage appearance was a 1946 benefit show for the Armed Forces. After retiring she moved into a modest New York hotel and stayed out of the spotlight. She turned down most interview requests saying "I'd rather be thought of as the way I used to be." Ann spent most of her time socializing with friends and doing charity work. On November 4, 1971 she died from a stroke at the age of seventy-seven. She was buried at Kensico Cemetery in Valhalla, New York.- Carl Benton Reid was a drama graduate from Carnegie Tech who had several years of stage experience performing at the Cleveland Playhouse in the 1920s, where he met his future wife, stage actress Hazel Harrison. After moving to New York, he became a noted actor on the Broadway stage with some impressive credits to his name. Between 1929 and 1949, he appeared in such illustrious plays as "Life with Father" (in the title role), Anton Chekhov's "The Cherry Orchard" (with Eva Le Gallienne) and Eugene O'Neill's Theatre Guild Production of "The Iceman Cometh". As to Reid's Harry Slade in "Iceman", the noted critic Brooks Atkinson commented for the New York Times (10/10/1946): "as the barroom's (sic) master of cosmic thinking, Carl Benton Reid is vigorously incisive and lends substance to the entire performance". Reid's stern demeanor lent itself to playing all sorts of tough characters, particularly heavy fathers, which he did ably (and often) as in "Strange Bedfellows" (1947). Way back in 1942, Atkinson had remarked on his energetic performance in the title role of the comedy "Papa is All": "Reid plays Papa with a snarl and ferocity that make the wreck at the railroad crossing an occasion of civic betterment" (NY Times, March 21, 1973).
In 1941, Reid left for Hollywood to recreate his stage role of Oscar Hubbard in the outstanding film adaptation of Lillian Hellman's play "The Little Foxes". Shot at RKO Studios, it was brilliantly directed by William Wyler. With his customary scowl and icy delivery, Reid was perfect as one of two avaricious brothers (the other was played by Charles Dingle) of equally venomous turn-of-the century Southern aristocrat Regina Giddens (whose part was played on stage by Tallulah Bankhead and in the film by Bette Davis). Reid's powerful performance ensured many more years of regular employment in films, though none of his subsequent roles ever came close to repeating his earlier success. However, Reid found a new lease of life on the small screen, invariably as senior military brass (Yancy Derringer (1958), 12 O'Clock High (1964)) or elder statesmen (Target: The Corruptors (1961)), even occasionally as murder victims (Perry Mason (1957)) or spy masters (Burke's Law (1963)). - Actor
- Producer
- Soundtrack
Richard Dix was a major leading man at RKO Radio Pictures from 1929 through 1943. He was born Ernest Carlton Brimmer July 18, 1893, in St. Paul, Minnesota. There he was educated, and at the desires of his father, studied to be a surgeon. His obvious acting talent in his school dramatic club led him to leading roles in most of the school plays. At 6' 0" and 180 pounds, Dix excelled in sports, especially football and baseball. These skills would serve him well in the vigorous film roles he would go on to play. After a year at the University of Minnesota he took a position at a bank, spending his evenings training for the stage. His professional start was with a local stock company, and this led to similar work in New York. He then went to Los Angeles, became leading man for the Morosco Stock Company and his success there got him a contract with Paramount Pictures. His rugged good looks and dark features made him a popular player in westerns. His athletic ability led to his starring role in Paramount's Warming Up (1928), a baseball story and also the studio's first feature with synchronized score and sound effects. His deep voice and commanding presence were perfectly suited for the talkies, and he was signed by RKO Radio Pictures in 1929, scoring an early triumph in the all-talking mystery drama, Seven Keys to Baldpate (1929). In 1931 he was nominated for a Best Actor Oscar for his masterful performance in Cimarron (1931), winner of the Best Picture Oscar that year. Throughout the 1930s Dix would be a big box-office draw at RKO, appearing in mystery thrillers, potboilers, westerns and programmers. He appeared in the "Whistler" series of mystery films at Columbia in the mid-40s. He retired from films in 1947. He first married Winifred Coe on October 20, 1931, had a daughter, Martha Mary Ellen, then divorced in 1933. He then married Virginia Webster on June 29, 1934. They had twin boys, Richard Jr. and Robert Dix and an adopted daughter, Sara Sue. Richard Dix the actor, died at age 56 on September 20, 1949.- Actor
- Director
- Writer
While Charley Chase is far from being as famous as "The Big Three" (Charles Chaplin, Buster Keaton and Harold Lloyd) today, he's highly respected as one of the "greats" by fans of silent comedy.
Chase (real name Charles Parrott) was born in Maryland, USA, in 1893. After a brief career in vaudeville, burlesque, and musical comedy he appeared with Al Christie at Universal Studios as a comedian in 1913 before moving to the Mack Sennett Studios the following year. His career in films did not start off with remarkable success. He played bit parts in a large number of short comedies, coming to notice in 'The Knockout' with Charlie Chaplin, Roscoe "Fatty" Arbuckle, Edgar Kennedy and The Keystone Cops. This was followed by appearing in a number of films written and directed by Chaplin. At the end of 1914 he was one of the stars in the spectacular Tillie's Punctured Romance featuring all the stars on the lot, and which took 14 weeks to shoot. He spent another year with Sennett starring in his own shorts, one of his first being Settled at the Seaside co starring Mae Busch. In 1915he started directing films using his real name and switching to his stage name when starring. He moved to Fox Studios in 1916 where he directed, wrote and starred in comedies some of which featured Chester Conklin. After a couple of further studio moves he rejoined Sennett then went to Paramount before arriving at Hal Roach Studios in 1920 as a director, before Roach realized what a gifted performer he had hired. "I can play anything!" Chase told Roach, and eventually his claim was confirmed. Although Mack Sennett's Keystone studio has earned legendary status as the ultimate factory of comic invention, it can hardly be denied that Roach developed a more refined style of comedy which obviously fitted Chase better (indeed, Sennett's unsophisticated product increasingly lost favor with the movie-going public by the early 1920s, while Roach's studio flourished). During five years, 1924-29, he starred in nearly a hundred two-reelers, most of which were directed by Leo McCarey.
Chase usually portrayed an apparently gentle and charming man who in reality, it eventually turned out, was quite a loser after all. His character was largely inspired by Lloyd Hamilton, another neglected comedian whom Chase had directed in several two-reelers. Among Charley's most memorable shorts are Innocent Husbands, Mighty Like a Moose, and Movie Night.
From the beginning, Charley Chase was a "critics' darling," but none of his movies were remarkably successful at the box office. There is no official "explanation" to this, but one reason may be that Chase, in contrast to the more popular clowns, never starred in any feature during the silent period. On a personal level, Chase was severely hobbled by alcoholism, which is unapparent in his films.
Chase made several promising appearances after the talkies arrived, in 1929-30, especially in Laurel and Hardy's highly acclaimed feature Sons of the Desert (1933). Despite this, he was never offered any further appearances in features. But he continued to perform in shorts and did also direct some of the Three Stooges' early movies. He died in 1940, not yet 47 years of age, of a heart attack. It is reasonable to believe that his early death was to a large extent caused by his addiction to alcohol, a problem which had troubled his family for several years. His brother James, also an actor, had died the year before. The two brothers had been close throughout their lives, although their personal problems frequently affected each other (or perhaps that was the reason for their being so close.) Chase was married to Bebe Eltinge from 1914, a marriage that lasted until his death and produced two daughters, Polly and June.
Chase's silent work was celebrated on DVD in two volumes from Kino Video. At long last his comic genius is being recognized.- Actor
- Second Unit Director or Assistant Director
Charles Stevens was born on 26 May 1893 in Solomonsville, Arizona, USA. He was an actor and assistant director, known for The Three Musketeers (1921), The Americano (1916) and Ebb Tide (1937). He was married to Lila Ethel Berry. He died on 22 August 1964 in Hollywood, California, USA.- Actor
- Director
- Writer
Al St. John was born on 10 September 1893 in Santa Ana, California, USA. He was an actor and director, known for Billy the Kid in Texas (1940), Prairie Badmen (1946) and Billy the Kid Trapped (1942). He was married to Yvonne June Villon Price Pearce (actress), Lillian Marion Ball and Flo-Bell Moore. He died on 21 January 1963 in Lyons, Georgia, USA.- George Selk was born on 15 May 1893 in Lincoln, Nebraska, USA. He was an actor, known for Adventures of Superman (1952), Gunsmoke (1955) and Lawman (1958). He died on 22 January 1967 in Montrose, California, USA.
- Actor
- Soundtrack
Earle Hodgins was born on 6 October 1893 in Payson, Utah, USA. He was an actor, known for Oregon Trail (1945), The Sagebrush Family Trails West (1940) and Heroes of the Alamo (1937). He was married to Elizabeth Birss Ogilvie and Sue Henley. He died on 14 April 1964 in Hollywood, Los Angeles, California, USA.- Lester Dorr was born on 8 May 1893 in Boston, Massachusetts, USA. He was an actor, known for Riders of the Purple Sage (1931), The Secret Code (1942) and Flying Disc Man from Mars (1950). He was married to Grace L. Painter. He died on 25 August 1980 in Los Angeles, California, USA.
- Dennis Hoey was born on 30 March 1893 in London, England, UK. He was an actor, known for Sherlock Holmes Faces Death (1943), Terror by Night (1946) and The Spider Woman (1943). He was married to Josephine Marta Ricca and Sarah Pearl Lyons (known as Cissie). He died on 25 July 1960 in Palm Beach, Florida, USA.
- Actor
- Soundtrack
Gino Corrado is best known as the waiter in most of the films from Hollywood's Golden Age. He appeared in such popular and beloved films as Casablanca, Citizen Kane, and Gone with the Wind. With over 1,000 appearances (mostly uncredited roles as a bit player or an extra from 1916 until 1956) he has one of the largest filmographies of any actor in the film industry. Three Stooges fans recognized him from his appearances in several memorable Three Stooges shorts, and it was the Three Stooges Fan Club that eventually bought him his gravestone. Corrado's earliest film roles included DW Griffith's Intolerance (1916), Sunrise (1927) and his biggest role as one of the Three Musketeers (Aramis) opposite Douglas Fairbanks in The Iron Mask (1929). Italian-born Gino Corrado's real name was Gino Liserani and his two brothers were also actors. Lawrence Liserani worked mostly as an extra, and Louis (Luigi) Liserani had a few bit roles in the 1920s under the name Louis Dumar.
Corrado was mainly uncredited after the silent era ended and typecast as a waiter or chef. He, incredibly, entered the restaurant business in the late 1940s where he served the motion picture crowd much like on-screen. Kirby Pringle is writing a book about Gino Corrado titled "Waiting on Hollywood: The Tale of an Italian Bit Player," with University Press of Mississippi, due out in early 2022.- Director
- Second Unit Director or Assistant Director
- Production Manager
The son of comedian and theatre director Ludwig Brahm, Hans followed in his father's footsteps and began his career on the stages of Vienna, Berlin and Paris. Again, like his father, he graduated to directing and had his first fling with the film business as a dialogue director for a Franco/German co-production, starring his future wife Dolly Haas. Hans went to England in 1934 to escape Nazi persecution (and to avoid being caught up in another war, having spent much of the previous conflagration as a conscript on the Russian Front). After a brief spell as a production supervisor, Brahm made his directing debut with an undistinguished remake of D.W. Griffith's Broken Blossoms (1936). A year later, he moved on to the U.S..
Having anglicised his first name to John, he arrived in Hollywood in 1937 and was signed to a three-year contract at Columbia (1937-40), followed by another three years with 20th Century Fox (1941-44). Brahm specialised in suspense thrillers, often with psychological undertones, at times involving madness. His affinity with filming the sinister and the grotesque had much to do with the influence of his uncle Otto, once an influential theatrical producer. Otto introduced his nephew to the dark and fantastic elements of classic German expressionist cinema, including films like Faust (1926). At Fox, Brahm directed two masterpieces back-to-back: the stylish and moody 'Jack the Ripper' look-alike The Lodger (1944); and, in a similar vein, Hangover Square (1945), a gothic melodrama about insanity and murder, set in Victorian London. Both films starred the excellent, sadly short-lived, actor Laird Cregar, whose professionalism and finely-etched performances Brahm greatly appreciated. Much of the credit for the pace and detail of these films belongs to Brahm himself, who meticulously mapped out every scene and camera angle before shooting commenced.
Another of Brahm's films, not in the same league as the aforementioned, but nonetheless quite enjoyable, is The Mad Magician (1954). Something of a precursor to the cycle of low-budget horror films Vincent Price was later to make at American-International, it was shot in the experimental 3-D process. What the picture lacked in a visceral sense, it made up for in period detail and in an enjoyable star performance reminiscent of the earlier House of Wax (1953).
By the mid-1950's, Brahm had segued from films to television, but never strayed far from the macabre. He directed some of the best-loved episodes of Alfred Hitchcock Presents (1955), The Outer Limits (1963), The Alfred Hitchcock Hour (1962) and, especially, The Twilight Zone (1959) ("Time Enough at Last" comes to mind, in particular). Brahm retired in 1968. He spent the last years of his life confined to a wheelchair and died in October 1982 at the respectable age of 89.- Writer
- Actor
- Music Department
While his special gifts seemed to lie in music and composing, the dapper, multi-talented Welsh actor Ivor Novello (ne David Ivor Davies), with his leading-man good looks, had a strong affinity for the camera.
Born in Cardiff, Wales, in 1893, he was the son of a tax-collector father and a well-known singing teacher mother. His prodigious musical skills were evident fairly early. Trained at the Magdalen College Choir School on a soprano scholarship, he soon began writing songs under the name Ivor Novello. In his overall career, Novello would write over 250 songs, a large percentage of them uplifting, touchingly sentimental and war-inspired morale boosters. He moved with his family to London in 1914, and became an overnight celebrity after composing the patriotic World War I standard "Keep the Home Fires Burning," which was introduced much later in the film The Lost Squadron (1932).
Novello then switched to pursue acting and debuted with a role in The Call of the Blood (1921) [The Call of the Blood], a French romantic melodrama which earned him promising notices. Other roles that ensured his status as a screen idol followed, including The Man Without Desire (1923), which he produced. He wrote and appeared in the successful 1924 play "The Rat," which transferred quite well to film the following year (The Rat (1925)). This also inspired two sequels -- The Triumph of the Rat (1926) and The Return of the Rat (1929).
The actor's film peak occurred headlining two of Alfred Hitchcock's early suspense thrillers, serving as the put-upon protagonist in both the silent classic The Lodger: A Story of the London Fog (1927) and the lesser-received Downhill (1927). Novello had a fine, well-modulated speaking voice that transferred easily to talkies. Into the 1930s, he wrote and starred in Symphony in Two Flats (1930) and went on to remake The Phantom Fiend (1932) successfully. During this time he also wrote the dialogue for Tarzan the Ape Man (1932), the first of the jungle series to star Johnny Weissmuller and Maureen O'Sullivan. Novello's last film was Autumn Crocus (1934), after which he decided to devote himself full time to music and theater.
He went on to earn rave reviews for his opulent, romantically melodramatic stagings of "Glamorous Night" (1935), "The Dancing Years" (1939) and "Perchance to Dream" (1945). He wrote eight musicals in all and appeared in six of them, all of them non-singing parts.
His longtime companion of 35 years, actor Robert Andrews, was with Novello when Novello died suddenly on March 6, 1951 of a coronary thrombosis only hours after performing in his own play "The King's Rhapsody." Hugely popular in his time (though virtually unknown in America), Novello's lasting influence on film, theater and especially music cannot be denied.- The epitome of opulent, grande dame pomposity, British character actress Isobel Elsom was born Isabelle Reed in Cambridge, England on March 16, 1893. She began on the stage in 1911 and went on to grace a number of silent and sound pictures in England, marrying and divorcing director Maurice Elvey in the interim.
Isobel made an elegant entry into British feature films as Lady Monkhurst in the drama Milestones (1916) and continued in leading roles with the silent films Tinker, Tailor, Soldier, Sailor (1918), Onward Christian Soldiers (1918), A Member of Tattersall's (1919), For Her Father's Sake (1921), Dick Turpin's Ride to York (1922), the title role in The Love Story of Aliette Brunton (1924), The Last Witness (1925) and Tragödie einer Ehe (1927). Her voice suitable for sound pictures, she continued her leading status with such early British talkies as The Other Woman (1931), Stranglehold (1931), The Crooked Lady (1932), The Thirteenth Candle (1933), and The Primrose Path (1934).
In the late 1920s, she made a transatlantic visit to the American stage, taking her first Broadway curtain all in "The Ghost Train" in 1926. She continued on the New York stage with such plays as "The Mulberry Bush" (1927), "People Don't Do Such Things" (1927), "The Silver Box" (1928), "The Behavior of Mrs. Crane" (1928) and "The Outsider" (1928).
Settling in America in the 1930s, Isobel achieved great character success in the role of retired actress Leonora Fiske in the play "Ladies in Retirement" (1940), which she also took to film (Ladies in Retirement (1941)) starring Ida Lupino). She would alternate between film and the Broadway stage for the next two decades. Broadway shows included "Hand in Glove" (1944), "The Innocents" (1950), "Romeo and Juliet" (as Lady Capulet) (1951), "The Climate in Eden" (1952), "The Burning Glass" (1954) and "The First Gentleman" (1957).
What the tiny-framed Elsom lacked in stature, she certainly made up for in pure chutzpah. The matronly actress remained in Hollywood and played a number of huffy blue-bloods in both comedies and drama for over two decades, including The War Against Mrs. Hadley (1942), You Were Never Lovelier (1942), Between Two Worlds (1944), Of Human Bondage (1946), The Two Mrs. Carrolls (1947), The Ghost and Mrs. Muir (1947), Ivy (1947), Smart Woman (1948), The Secret Garden (1949), Lust for Life (1956), The Miracle (1959) and The Second Time Around (1961). One standout blue-blooded role was as one of Charles Chaplin's intended victims in the black comedy Monsieur Verdoux (1947).
In later years, Isobel served as a frequent foil to Jerry Lewis in a few of his solo pictures (Rock-a-Bye Baby (1958), The Bellboy (1960), The Errand Boy (1961), Who's Minding the Store? (1963)). She ended her film career playing Mrs. Eynsford-Hill in My Fair Lady (1964). Isabel remarried in 1942 and was the widow of actor Carl Harbord in 1958. The couple both met when they appeared in the film Eagle Squadron (1942). Isobel Elsom died at age 87 of heart failure at the Motion Picture & Television Hospital in Woodland Hills, California on January 12, 1981. She had no children. - Producer
- Director
- Additional Crew
One of a large group of Hungarian refugees who found refuge in England in the 1930s, Sir Alexander Korda was the first British film producer to receive a knighthood. He was a major, if controversial, figure and acted as a guiding force behind the British film industry of the 1930s and continued to influence British films until his death in 1956. He learned his trade by working in studios in Austria, Germany and America and was a crafty and flamboyant businessman. He started his production company, London Films, in 1933 and one of its first films The Private Life of Henry VIII (1933), received an Oscar nomination as best picture and won the Best Actor Oscar for its star, Charles Laughton. Helped by his brothers Zoltan Korda (director) and Vincent Korda (art director) and other expatriate Hungarians, London Films produced some of Britain's finest films (even if they weren't all commercial successes). Korda's willingness to experiment and be daring allowed the flowering of such talents as Michael Powell and Emeric Pressburger and gave early breaks to people such as Laurence Olivier, David Lean and Carol Reed. Korda sold his library to television in the 1950s, thus allowing London Films' famous logo of Big Ben to become familiar to a new generation of film enthusiasts.- Director
- Actor
- Writer
Born in Ludwigshafen, Germany, Wilhelm Dieterle was the youngest of nine children of parents Jacob and Berthe Dieterle. They lived in poverty, and when he was old enough to work, young Wilhelm earned money as a carpenter and a scrap dealer. He dreamed of better things, though, and theater caught his eye as a teen. By the age of 16 he had joined a traveling theater company. He was ambitious and handsome, both of which opened the door to leading romantic roles in theater productions. Though he had acted in his first film in 1913, it was six more years before he made another one. In that year he was noticed by producer/director/designer/impresario Max Reinhardt, the most influential proponent of expressionism in theater; while in Berlin, Reinhardt hired him as an actor for his productions. Dieterle resumed German film acting in 1920, becoming a popular and successful romantic lead and featured character actor in the mix of German expressionist/Gothic and nature/romanticism genres that imbued much of German cinema in the silent era. He was interested in directing even more than acting, however, and he had the iconic Reinhardt to provide inspiration. Dieterle had acted in nearly 20 movies before he also began directing in 1923, his first female lead being a young Marlene Dietrich.
With his wife Charlotte Hagenbruch he started his own film production . He was said to have tired of acting; he appeared in nearly 50 films over the course of his career, mainly in the 1920s, and in several of his films he also functioned as director. As an actor he worked with some of the greatest names in German film, such as directors Paul Leni (in Waxworks (1924) [Waxworks]) and F.W. Murnau (in Faust (1926)) and actors Conrad Veidt and Emil Jannings. By 1930, however, he had emigrated to the US--now rechristened as William Dieterle--with an offer from Warner Brothers to direct their German-language versions of the studio's popular hits for the German market. In that capacity he made Those Who Dance (1930), The Way of All Men (1930) and Die heilige Flamme (1931) (aka "The Holy Flames"). He even stood before the camera for another of these, Dämon des Meeres (1931) (aka "Demon of the Sea", a version of "Moby Dick") in 1931, in which he played Capt. Ahab. The film was directed by another European who was soon to become one of Warners' most successful directors: the Hungarian Michael Curtiz.
Having taken to the Hollywood brand of filmmaking with ease--helped by his own brilliance in defining and executing the telling of a story--into 1931, he was soon promoted to directing some of Warners' "regular" films (his first, The Last Flight (1931), is now regarded as a masterwork) and he wold average directing six pictures a year for the studio through 1934. In that year Reinhardt came to the US, the Nazi threat finally having driven him off the Continent. He arrived with a flourish, ready to stage William Shakespeare's "A Midsummers Night's Dream"--an extravaganza at the Hollywood Bowl that would become legend. It was impressive enough to interest the execs of Warner Bros. They opted for a film version in 1935 with the great Reinhardt--even studio boss Jack L. Warner knew who he was--reunited with his disciple, Dieterle, as co-director. Reinhardt knew nothing about Hollywood and had to learn via Dieterle's diplomacy the differences between the overemphasis of stage and the subtlety of the camera. He learned from other directors as well about the realities of making films, in particular ratchet down the tendency that stage directors had to let their actors perform "too" much. It was all for naught, however, as the film was a major box-office flop, but it was one of the great moments in the evolution of film. Dieterle would direct Paul Muni for Warners in three first-rate bio movies: The Story of Louis Pasteur (1936), The Life of Emile Zola (1937) and Juarez (1939) and all received Oscar nominations. After that Dieterle moved on to do The Hunchback of Notre Dame (1939) at RKO with Charles Laughton as Quasimodo. This was one of Dieterle's best efforts, both in its romantic style and the great dark scenes of the Parisian medieval underworld with dramatic minimal lighting that gave vent to his expressionist roots.
Through the 1940s Dieterle moved around among Hollywood's studios, turning out vigorously wrought pictures, such as his two 1940 bios with Edward G. Robinson at Warner's. He became associated with independent producer David O. Selznick and actor Joseph Cotten, first with his direction of I'll Be Seeing You (1944). His romantic fires as a director had been restoked, as it were, and kept burning in the subsequent series of films with them which included the wonderful acting talents of Selznick's soon-to-be-wife (1949), Jennifer Jones: Love Letters (1945), Duel in the Sun (1946)--for which he shared directing but not credit with King Vidor--and the ethereal Portrait of Jennie (1948). "Jennie" was one of Dieterle's masterpieces, bringing into play a fusion of all his artistic fonts. The romantic fantasy with edges of darkness from the novel by Robert Nathan was just the vehicle to challenge Dieterle. His use of light and dark and gauzed--at one point the textured field of a painting canvas--backdrops conveyed the dreamlike state and netherworld atmosphere of the story of lovers from different times. Certainly the film influenced others to follow with similar themes.
Through the 1950s Dieterle's work--two more with Joseph Cotten--though sturdily in the director's hands, came off like good Hollywood fare, but were inspired more by the films' tight shooting schedules than by any artistic pretensions. His output during that decade was small, and that was partly due to bane of McCarthyism. He was never blacklisted as such, but his film Blockade (1938) was too libertarian to keep him completely away from the shadow of suspicion as a "socialist" / "communist" sympathizer. In 1958 he returned to Germany and directed a few films there and in Italy before retiring in 1965.
Though regrettably not as well known as his German and European directorial compatriots in Hollywood, he had great artistic style and worked with much energy in providing some of Hollywood's and the world's crown jewels of cinematic art.- Evelyn Varden was born on 12 June 1893 in Adair, Oklahoma, USA. She was an actress, known for The Night of the Hunter (1955), The Bad Seed (1956) and Pinky (1949). She was married to William J. Quinn and Charles Coleman. She died on 11 July 1958 in New York City, New York, USA.
- Actor
- Soundtrack
Ernest Whitman was born on 21 February 1893 in Fort Smith, Arkansas, USA. He was an actor, known for The Green Pastures (1936), Road to Zanzibar (1941) and Maryland (1940). He died on 5 August 1954 in Hollywood, California, USA.- Edgar Dearing was born on 4 May 1893 in Ceres, California, USA. He was an actor, known for Abraham Lincoln (1930), Lightning Strikes Twice (1934) and Raiders of Tomahawk Creek (1950). He was married to Lila Stones and Nelvina Hyink. He died on 17 August 1974 in Woodland Hills, Los Angeles, California, USA.
- Jesslyn Fax was born on 4 January 1893 in Toronto, Ontario, Canada. She was an actress, known for Rear Window (1954), The Ghost and Mr. Chicken (1966) and Kiss Me Deadly (1955). She died on 16 February 1975 in Hollywood, California, USA.
- Camera and Electrical Department
- Producer
Roy O. Disney was an American businessman, becoming the partner and co-founder, along with his younger brother Walt Disney, of Walt Disney Productions, since renamed The Walt Disney Company.
While Walt was the creative man, Roy was the one who made sure the company was financially stable. Roy and Walt both founded Disney Studios as brothers, but Walt would buy out most of Roy's share in 1929 so, unlike Max and Dave Fleischer of rival Fleischer Studios, Roy was not a co-producer. However, Roy would be equal partner in all facets of the production company.
Roy became the company's first CEO in 1929, although the official title was not given until 1968. He also shared the role of chairman of the board with Walt from 1945. Walt however dropped the chairman title in 1960 so he could focus more on the creative aspects of the company. After Walt Disney's death in 1966, Roy postponed his retirement to oversee construction of what was then known as Disney World. He later renamed it Walt Disney World as a tribute to his brother. Roy became the president of Walt Disney Productions on December 15, 1966, and remained so until 1968.
He died in December 20, 1971 at age 78, a few months after the Walt Disney World was opened.- Actress
- Writer
- Director
Though the circumstances of Helen Holmes' birth are somewhat hazy (sources place it in either Chicago or Louisville, KY, in mid-June or early July of 1893), what isn't hazy is that she was, with Pearl White, the queen of the railroad serials of the mid-teens and early '20s. Holmes always played a strong-willed, independent and resourceful heroine, just as capable of running after, jumping on and stopping a runaway train as she was batting her eyes at the male "hero". Although she was convent-educated, her parents were poor and could barely afford her education, so as she got older she became a photographer's model to help pay the family bills.
Her brother's ill health necessitated a family move from cold, damp Chicago to the hot, dry climate of California's Death Valley. It was there that her taste for adventure was given full rein. In that desolate, sparsely populated country she prospected for gold and for a short time lived among a local Indian tribe. Her brother soon died, though, and in 1910 Helen moved to New York and began appearing in local plays. She had become friends with film star Mabel Normand, and after a short correspondence Normand invited her to Hollywood, where she got her friend some modeling and movie work. Holmes soon achieved success, and by 1913 was starring in her own films. She met her husband, director J.P. McGowan, at Kalem Studios while she was acting in, and he was directing, The Hazards of Helen (1914) serial. The two soon formed their own production company, and their films, both serials and features, achieved great success. By 1919, though, Mutual Films, the company that distributed their movies, had gone under. Without Mutual's financial backing the budgets on their films shrank precipitously, and not being able to afford to make railroad serials anymore, Helen was now turned into a newspaperwoman, a switch that did not sit well with her fans. Although she continued to make films and serials, many of them weren't starring roles anymore, and the fact that a good percentage of them were for the cheap independent market meant that relatively few audiences actually saw them.
Her marriage to McGowan broke up in 1925. She subsequently married a movie stuntman, and basically retired from the screen in 1926, although she made a few appearances in small parts over the next 20 years.
She kept her hand in the business by becoming a trainer for animals used in the movies, but that lasted until her husband died in 1946. Her health had been deteriorating for several years by that time, and she died of a heart attack in 1950.- Jean Acker was born in 1893 on a farm in Trenton, NJ, and was named Harriet. Her father was part Cherokee and her mother was Irish, and they had separated when she was young. Jean attended school at St. Mary's Seminary in Springfield, NJ. Her acting career began in vaudeville and stock-company drama before she moved in front of the cameras.
In 1919 she came to California and negotiated a $200-a-week contract with a movie studio based on the strength of her relationship with her lover, the famed star Alla Nazimova. Within a few months she started another relationship with a younger, less established actress, Grace Darmond. In the midst of this love triangle she met the struggling actor Rudolph Valentino at a party, and they became friends. After a two-month courtship, he asked her to marry him and she accepted. On November 6, 1919, they married, and on their wedding night she locked him out. She wept, claiming she made a mistake and later departed to Grace Darmond's apartment. Valentino tried to reconcile with her but to no avail, and the marriage ended in divorce two years later when Valentino was a major star and Acker's star was waning.
Newspapers had a field day when Valentino was charged with bigamy, as he hadn't waited long enough to marry his second wife, talented set and costume designer Natacha Rambova. Acker sued for the legal right to call herself "Mrs. Rudolph Valentino," and Valentino remained angry at her for several years. However, they rekindled their friendship a few months before his death in 1926. She was one of the last people who saw him alive, and she attended his funeral with her mother. Soon after he died, she wrote and published a popular song about him, "We Will Meet at the End of the Trail."
She played bit parts in films, usually uncredited, until the early 1950s. She and her companion Chloe Carter owned a Beverly Hills building where Patricia Neal lived for several years. She died in 1978 at the age of 85. She and her companion Carter are now buried side by side in Holy Cross Cemetery, Los Angeles, California. - Making her film debut as an extra in 1917, Leatrice Joy soon graduated to playing opposite comics Billy West and Oliver Hardy. Director Cecil B. DeMille took her under his wing and starred her in several of his films. Often playing career girls dressed in mannish suits, or sophisticated society girls, she is generally credited with starting the bobbed-hair craze in the 1920s. She retired shortly after the advent of sound, but made occasional appearances in small supporting roles over the years.
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- Additional Crew
Russel Crouse was born on 20 February 1893 in Findlay, Ohio, USA. He was a writer, known for The Sound of Music (1965), Arsenic and Old Lace (1944) and Anything Goes (1936). He was married to Anna Erskine and Dorothy Alison Greene (Alison Smith). He died on 3 April 1966 in New York City, New York, USA.- Producer
- Writer
- Additional Crew
In 1920, Merian C. Cooper was a member of volunteer of the American Kosciuszko Squadron that supported the Polish army in the war with Soviet Russia, where he met best friend and producing partner Ernest B. Schoedsack. On 26 July 1920, his plane was shot down, and he spent nearly nine months in the Soviet prisoner-of-war camp. He escaped just before the war was over. He was decorated by Marshall Jozef Pilsudski with the highest military decorations: Virtuti Military. He had a successful career in the military and in the movie business.- Actor
- Art Department
- Cinematographer
Today screen actor Robert (Bobby) Harron is one of Hollywood's forgotten souls, although he was a huge celebrity in his time and graced some of the silent screen's most enduring masterpieces. A talented, charismatic star in his heyday, Bobby had everything going for him but died far too young to make the longstanding impression he certainly deserved.
Bobby was born one of nine children in New York City to an impoverished Irish-American family. In order to put food on the table, Bobby started out quite young looking for work. At age 13 he found a job working for the American Biograph Studio on East 14th Street as a messenger boy and was given a couple of film bits for added measure. Within the next year director D.W. Griffith had joined the company and the sensitive, highly photogenic Bobby caught the legendary director's eye almost immediately.
Bobby subsequently had leading roles in many of Griffith's classic silents, usually playing characters that were much younger and much more naive than in real life. He appeared opposite other legendary female stars who also played "young-ish" roles, notably Mae Marsh and Lillian Gish. Bobby made indelible impressions in The Birth of a Nation (1915), Intolerance (1916), An Old Fashioned Young Man (1917), Hearts of the World (1918), A Romance of Happy Valley (1919) and True Heart Susie (1919).
Bobby had become such a sensation that in 1920 he entertained thoughts about leaving the Griffith fold and forming his own company. A fatal, self-inflicted bullet wound to the left lung in September of 1920 ended those dreams before they ever got off the ground. Although it was listed as an "accidental" death, Hollywood rumor has it that a despondent Bobby killed himself in a New York hotel room on the eve of the premiere of Griffith's new film Way Down East (1920). It seems Bobby was devastated after being passed over by Griffith for the lead role in favor of the director's new protégé, Richard Barthelmess. Whatever the truth may be, Bobby's death remains a tragic mystery. Ironically, Bobby had two lesser known sibling actors who also died quite young. Tessie Harron (1896-1918) died at age 22 of Spanish influenza, and John Harron (1904-1939), nicknamed Johnnie, collapsed and died of spinal meningitis at age 35. Both appeared unbilled in Hearts of the World (1918) with Bobby.- Art Director
- Art Department
- Set Decorator
After graduating from New York's Art Students League he worked for his architect father, then started film work at Edison Studios in 1915 assisting Hugo Ballin. In 1918 he moved to Goldwyn as art director and, in 1924, began his 32 year stint as supervising art director for some 1500 MGM films, with direct responsibility in well over 150 of those. He designed the Oscar itself, winning it 11 of the 37 times he was nominated for it. Some of his designs influenced American interiors, and it has been argued that he was the most important art director in the history of American cinema.- Cory Osceola was born on 15 January 1893 in Florida, USA. He was an actor, known for Wind Across the Everglades (1958). He died on 28 October 1978 in Naples, Florida, USA.
- Cleo Ridgely was born on 12 May 1893 in New York City, New York, USA. She was an actress, known for The Victory of Conscience (1916), The Golden Chance (1915) and The Puppet Crown (1915). She was married to James W. Horne and Richard Ridgely. She died on 18 August 1962 in Glendale, California, USA.
- Actor
- Soundtrack
Lee Phelps was born on 15 May 1893 in Philadelphia, Pennsylvania, USA. He was an actor, known for Anna Christie (1930), Scouts to the Rescue (1939) and The Girl from Rio (1939). He was married to Mary Warren. He died on 19 March 1953 in Culver City, Los Angeles, California, USA.- Bernard Nedell was born on 14 October 1893 in New York City, New York, USA. He was an actor, known for The Loves of Carmen (1948), The Silver King (1929) and Angels Wash Their Faces (1939). He was married to Helen Porter Nichols and Olive Blakeney. He died on 23 November 1972 in Hollywood, California, USA.
- Actor
- Additional Crew
- Soundtrack
Short, squat, voluble and Italian-born, Tito Vuolo could not avoid being typecast as the jolly Italian in office. In the nineteen fifties and sixties, Tito Vuolo portrayed dozens of Italian barbers, pizza makers, vendors, grocers, waiters, hotel or restaurant proprietors. He played them well but he was at his best when he was not restricted to stereotypes, particularly in film noir where his good nature created a powerful contrast with the atmosphere of moral decay prevailing in such films as Kiss of Death (1947), The Web (1947), T-Men (1947), The Racket (1951), and what is probably the best of them all, The Enforcer (1951), as the taxi driver witnessing the murder at the beginning of the film.- Actor
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- Writer
American actor, writer, director, and producer whose early pioneering work in African-American or "race" films was eclipsed in fame by his role as one of the title characters in the equally pioneering1950s sitcom The Amos 'n Andy Show (1951). A native of Vidalia, Louisiana, Williams broke into the theatre as a call boy for theatrical producer Oscar Hammerstein I, and learned comedy at the feet of Bert Williams, the great black vaudevillian. He moved to California following service in World War I, and began to land bit parts in films, particularly in so-called "race films," which were designed solely for black audiences. He wrote gags and later scripts for some of these films, and in 1940 was offered the opportunity to write and direct a film, The Blood of Jesus (1941), a religious drama which proved an enormous success in its limited arena. After more than a half dozen further films, Williams left the industry and co-founded the American Business and Industrial College in Tulsa, Oklahoma. Three years later, in 1950, a local radio station convinced Williams to audition for the television version of the hit radio show "Amos 'n Andy." Williams landed the role of Andy Brown, one of the leads, and the show proved enormously popular in original broadcast and in reruns. However, despite the near-unanimous sense that the comedy was superbly done, numerous racially-sensitive groups petitioned for its removal from the airways due to its presumed stereotypical depiction of black characters. Although the debate continues to this day, with positions pro and con taken on both sides of the color line, the show was removed from the air and despite its initial success and sterling comedy reputation, it has not been broadcast since in any regular form. Not until 2005 were home video presentations of the show publicly available. Williams managed only a few minor film and TV appearances following the cancellation of the show. He died of kidney failure at a Veterans Administration hospital in Los Angeles, on December 13, 1969, survived by his wife Eula. In 1983, fourteen years after his death, a number of his race films were discovered in a warehouse, and a reevaluation of the films and his work as writer and director was undertaken. A number of prominent critics and film scholars have praised Williams's work as primitive but pioneering and innovative examples of the filmmaking available to blacks in the mid-twentieth century.