Golden age: Roll call

[TopBilled]

Jean Seberg did fulfill her promise.  Sadly, her life was a short one.  "Breathless" and "The Five-Day Lover" made her a French star.  In retrospect, "In The French Style" and "Lilith" should have made her an American star.  And, now, today, her performance as "Saint Joan" is the greatest Saint Joan in film history.  She did break down under the scrutiny of the FBI.  And her romantic life had a lot of bumps and twists.  Otherwise, she might still be with us - and reaping the rewards of new-found glory.  

 

Beautifully stated. Thank you, Ray.

[midwestan]

Stella Stevens has a special charm. In her performances, there's always a smart lady underneath the "dumb blonde" exterior. I prefer her to the Mansfields and Monroes, to be honest.

I liked her in a film TCM shows on a fairly regular basis, "Where Angels Go, Trouble Follows".  She has good scenes with veteran players like Van Johnson, Rosalind Russell, and Mary Wickes plus the younger set like Susan St. James and Barbara Hunter.  Even though it had a short run on television, she was good in the series, "Flamingo Road".  I wonder if TCM has access to enough of her films to justify giving her a day on 'Summer Under the Stars'.  They certainly have enough for at least a prime-time showing of films on her birthday, but I don't know how often TCM does this, as opposed to featuring one star during the daytime hours, which they frequently do.

 

I agree though, Stella Stevens might not be a 'bombshell' or have the meatiest of roles to play, but she's good enough eye candy for me and strikes me as one of those reliable, 'steady eddy' performers that will give you your money's worth. 

[TopBilled]

I liked her in a film TCM shows on a fairly regular basis, "Where Angels Go, Trouble Follows".  She has good scenes with veteran players like Van Johnson, Rosalind Russell, and Mary Wickes plus the younger set like Susan St. James and Barbara Hunter.  Even though it had a short run on television, she was good in the series, "Flamingo Road".  I wonder if TCM has access to enough of her films to justify giving her a day on 'Summer Under the Stars'.  They certainly have enough for at least a prime-time showing of films on her birthday, but I don't know how often TCM does this, as opposed to featuring one star during the daytime hours, which they frequently do.

 

I agree though, Stella Stevens might not be a 'bombshell' or have the meatiest of roles to play, but she's good enough eye candy for me and strikes me as one of those reliable, 'steady eddy' performers that will give you your money's worth. 

 

I like how you said that. I think TCM did have a primetime spotlight for Stella Stevens a few years ago, where they played TOO LATE BLUES and THE NUTTY PROFESSOR, followed by SOL MADRID. But it would be nice to see her get a full day.

[TopBilled]

 

George Peppard came from a middle class home. When he was young, he wasn’t sure what he was going to do with his life– he signed up with the Marines but that only lasted two years. He then went to college, and took a variety of odd jobs putting himself through school. Along the way, he was bitten by the acting bug and began to perform in campus theater productions. He switched majors, and he switched colleges. Eventually he earned his degree and wound up in New York, in the hopes of becoming a professional actor.
 

It didn’t take long for George to catch on in the big city. Within a short time, the handsome clean-cut guy was cast in important stage roles and in live TV dramas. A year later, he was signed to a contract with MGM. The studio had to wait six months for him to make his first film, since he had a starring role on Broadway. When he finally arrived in Hollywood, he appeared in a major motion picture hit– HOME FROM THE HILL. He played Robert Mitchum’s son in Vincente Minnelli’s melodramatic adaptation of the bestselling novel.
 

His next film for Metro underperformed, and when Paramount indicated an interest in the actor, a loan-out was arranged. This led to his being cast as a gigolo who learns about true love– in BREAKFAST AT TIFFANY’S with Audrey Hepburn. His services were usually divided between the two studios for the next few years. There were more hits with both companies; films like THE CARPETBAGGERS and OPERATION CROSSBOW proved extremely popular with audiences. George was experiencing a major hot streak, culminating with his performance as a German soldier in Fox’s expensive WWI drama THE BLUE MAX.
 

In the late 60s, his movie career went into decline. He had moved over to Universal; and there were still modest hits, usually in the western genre. By the beginning of the next decade, George was ready to reinvent himself. An opportunity to do so came when Universal featured him in a new television series called Banacek. For two seasons, he played a smooth Polish crime solver; and the role saved his career. Afterward, he was back in more feature films, usually at Universal; but by 1980 his career was seriously stalling again. Personal and financial problems also plagued him, but he was not ready to quit.
 

A whole new audience would come to appreciate George Peppard when he reinvented himself on television once more. In 1983 he was cast as Colonel John Smith in Universal’s action adventure show The A-Team. It ran on NBC for five seasons; and with its immense success, George morphed into one of the most recognizable character actors around. In each episode, he kept one finger on his trademark cigar, and another finger on the grenades he used to blow up bad guys. It may not have required much method acting, but it was the part of a lifetime.

 

1. home from the hill (1960); mgm; drama; robert mitchum; 150 mins.
2. the subterraneans (1960); mgm; drama; leslie caron; 89 mins.
3. breakfast at tiffany’s (1961); paramount; romantic comedy; audrey hepburn; 114 mins.
4. the victors (1963); columbia; war film; vince edwards; 175 mins.
5. the carpetbaggers (1964); paramount; drama; carroll baker; 150 mins.
6. operation crossbow (1965); mgm; war film; sophia loren; 115 mins.
7. the third day (1965); warner brothers; mystery; elizabeth ashley; 119 mins.
8. the blue max (1966); fox; war film; james mason; 156 mins.
9. the executioner (1970); columbia; thriller; joan collins; 107 mins.
10. one more train to rob (1971); universal; western; diana muldaur; 108 mins.
     

[TopBilled]

 

Patty Duke gained favorable notices when she costarred with Anne Bancroft on Broadway in a hit dramatization about Helen Keller’s life, THE MIRACLE WORKER. It was a role the young child star played 719 times on the stage from 1959 to 1961. She was captivating, and there was no doubt she would be asked to repeat the performance in the big screen version.
 

In the process she gained even more fans appreciative of her unique talents. And for the first time in Oscar history, she became the first child performer to receive a competitive award. This was not in a special juvenile category but as best supporting actress, beating out other performers much older than she was at the time. To say Patty Duke had become a star would be putting it mildly. However, she wouldn’t make another hit film until a few years later.
 

In the meantime, her star quality was put to good use in a self-titled television sitcom where she played “identical cousins.” The Patty Duke Show was created by her lifelong friend Sidney Sheldon, who later became a bestselling novelist. Audiences watched two sides to Patty in this weekly series; while off-screen the budding actress dealt with a failing marriage, abuse and clinical depression. She tapped into her private inner turmoil when she was cast in 20th Century Fox’s THE VALLEY OF THE DOLLS. She stunned everyone with a shattering performance of a drug-addicted beauty.
 

Despite this portrayal, her feature film career did not regain the momentum it had in the beginning. Eventually Patty would become typecast on television. However, there were notable roles in two horror films during the 1970s– a Universal production filmed in Canada; and a sequel to ROSEMARY’S BABY. In between acting jobs, she married again and had children. Her longest marriage was to John Astin, and both their sons would also become actors. In the late 70s, she appeared in an interesting telefilm for NBC. It was a remake of THE MIRACLE WORKER. This time Patty played teacher Anne Sullivan, and Little House on the Prairie‘s Melissa Gilbert was Helen. It earned plaudits from critics and was a hit for the network. Patty and Melissa remained good friends after the production finished.
 

In the 80s, Patty returned to the weekly TV grind in a new sitcom, It Takes Two, opposite Richard Crenna. It only lasted a season, and they played parents to future stars Helen Hunt and Anthony Edwards. For the rest of the decade and into her later years, Patty kept busy with guest appearances on various programs. She also wrote her autobiography, ‘Call Me Anna’ (her given name)– it detailed the abuses she had endured as a youngster as well as her bipolar diagnosis. She even found time in 2002 to return to her Broadway roots in a revival of the musical ‘Oklahoma!’
 

1. the miracle worker (1962); ua; drama; anne bancroft; 106 mins.
2. billie (1965); ua; musical; jim backus; 87 mins
3. valley of the dolls (1967); fox; drama; barbara parkins; 123 mins.
4. me, natalie (1969); national general; comedy; james farentino; 111 mins.
5. my sweet charlie (1970); universal; drama; al freeman jr.; 97 mins.
6. you’ll like my mother (1972); universal; horror; rosemary murphy; 93 mins.
7. deadly harvest (1972); cbs; drama; richard boone; 90 mins.
8. look what’s happened to rosemary’s baby (1976); paramount; horror; stephen mchattie; 100 mins.
9. the swarm (1978); warner brothers; disaster; michael caine; 156 mins.
10. the miracle worker (1979); nbc; drama; melissa gilbert; 98 mins.
     

[rayban]

 

Patty Duke gained favorable notices when she costarred with Anne Bancroft on Broadway in a hit dramatization about Helen Keller’s life, THE MIRACLE WORKER. It was a role the young child star played 719 times on the stage from 1959 to 1961. She was captivating, and there was no doubt she would be asked to repeat the performance in the big screen version.

 

In the process she gained even more fans appreciative of her unique talents. And for the first time in Oscar history, she became the first child performer to receive a competitive award. This was not in a special juvenile category but as best supporting actress, beating out other performers much older than she was at the time. To say Patty Duke had become a star would be putting it mildly. However, she wouldn’t make another hit film until a few years later.

 

In the meantime, her star quality was put to good use in a self-titled television sitcom where she played “identical cousins.” The Patty Duke Show was created by her lifelong friend Sidney Sheldon, who later became a bestselling novelist. Audiences watched two sides to Patty in this weekly series; while off-screen the budding actress dealt with a failing marriage, abuse and clinical depression. She tapped into her private inner turmoil when she was cast in 20th Century Fox’s THE VALLEY OF THE DOLLS. She stunned everyone with a shattering performance of a drug-addicted beauty.

 

Despite this portrayal, her feature film career did not regain the momentum it had in the beginning. Eventually Patty would become typecast on television. However, there were notable roles in two horror films during the 1970s– a Universal production filmed in Canada; and a sequel to ROSEMARY’S BABY. In between acting jobs, she married again and had children. Her longest marriage was to John Astin, and both their sons would also become actors. In the late 70s, she appeared in an interesting telefilm for NBC. It was a remake of THE MIRACLE WORKER. This time Patty played teacher Anne Sullivan, and Little House on the Prairie‘s Melissa Gilbert was Helen. It earned plaudits from critics and was a hit for the network. Patty and Melissa remained good friends after the production finished.

 

In the 80s, Patty returned to the weekly TV grind in a new sitcom, It Takes Two, opposite Richard Crenna. It only lasted a season, and they played parents to future stars Helen Hunt and Anthony Edwards. For the rest of the decade and into her later years, Patty kept busy with guest appearances on various programs. She also wrote her autobiography, ‘Call Me Anna’ (her given name)– it detailed the abuses she had endured as a youngster as well as her bipolar diagnosis. She even found time in 2002 to return to her Broadway roots in a revival of the musical ‘Oklahoma!’

 

1. the miracle worker (1962); ua; drama; anne bancroft; 106 mins.
2. billie (1965); ua; musical; jim backus; 87 mins
3. valley of the dolls (1967); fox; drama; barbara parkins; 123 mins.
4. me, natalie (1969); national general; comedy; james farentino; 111 mins.
5. my sweet charlie (1970); universal; drama; al freeman jr.; 97 mins.
6. you’ll like my mother (1972); universal; horror; rosemary murphy; 93 mins.
7. deadly harvest (1972); cbs; drama; richard boone; 90 mins.
8. look what’s happened to rosemary’s baby (1976); paramount; horror; stephen mchattie; 100 mins.
9. the swarm (1978); warner brothers; disaster; michael caine; 156 mins.
10. the miracle worker (1979); nbc; drama; melissa gilbert; 98 mins.

     

Over the years, Patty Duke did become a TV star.  I always looked forward to her appearances.

[TopBilled]

Over the years, Patty Duke did become a TV star.  I always looked forward to her appearances.

 

I think it hurt her budding film career when she did that sitcom. Of course everyone loves the show, but it sent her career in another direction. Probably the money was too good to pass up and that's why the family signed her to do it.

 

Despite her performance in VALLEY OF THE DOLLS and the edgy horror films she made afterward, she was always going to be competing with her image from the sitcom. It was in perpetual reruns for years and she couldn't get away from it.

[rayban]

I think it hurt her budding film career when she did that sitcom. Of course everyone loves the show, but it sent her career in another direction. Probably the money was too good to pass up and that's why the family signed her to do it.

 

Despite her performance in VALLEY OF THE DOLLS and the edgy horror films she made afterward, she was always going to be competing with her image from the sitcom. It was in perpetual reruns for years and she couldn't get away from it.

"The Patty Duke Show" can still be seen on classic TV stations.  In fact, just recently, I recorded episodes of the show.

[TopBilled]

"The Patty Duke Show" can still be seen on classic TV stations.  In fact, just recently, I recorded episodes of the show.

 

Yes. It's never left the airwaves. People will still be watching it long after THE MIRACLE WORKER has been forgotten (perish the thought!).

[TopBilled]

 

When he was still a teenager, New Jersey native Jack Nicholson went to Hollywood. Shortly after he arrived, a relative helped him obtain an entry level job in the office of a top animator. He considered a career in animation only briefly; his heart was set on acting. He began to study his new craft with other hopefuls; and when Jack was nineteen, he appeared in his first low-budget film. It was hardly remarkable, but it was a start.
 

During the early 1960s, Jack continued to perfect his acting techniques. He befriended Roger Corman and he not only acted in several of Corman’s pictures, he also contributed to some of the scripts. Around this time, he also worked with director Monte Hellman on several “acid” westerns. Though the projects were not exactly hits with audiences or critics, they have since become recognized as cult classics. Meanwhile, Jack took guest roles on weekly TV series to pay the bills– he appeared in two color episodes of The Andy Griffith Show. Who could have guessed that a struggling performer stuck in low-budget fare and weekly television would someday become one of the most honored stars of his generation…?
 

It all changed in 1969 when Jack was cast in a pivotal supporting role in EASY RIDER. The anti-establishment film became a runaway hit. Overnight he had become a big name, and he now had an Oscar nomination (the first of twelve) to his credit. Critics were calling him the next Marlon Brando. This was a huge compliment since Brando was one of Jack’s movie idols. A year later, he turned in another celebrated performance as the lead in Bob Rafelson’s FIVE EASY PIECES. It was 1970, and several noteworthy collaborations were just ahead.
 

He worked with Art Garfunkel in Mike Nichols’ CARNAL KNOWLEDGE, and then starred with Faye Dunaway in Roman Polanski’s CHINATOWN. The next year he was named Best Actor for his work in ONE FLEW OVER THE CUCKOO’S NEST. Soon afterward, he had a chance to costar with Brando in Arthur Penn’s western THE MISSOURI BREAKS. His career was red hot, and the streak would continue.
 

During the 80s there were well-received performances in THE SHINING; TERMS OF ENDEARMENT (a Supporting Actor Oscar); PRIZZI’S HONOR; and BATMAN as a very memorable Joker. The 90s saw him in projects like A FEW GOOD MEN and AS GOOD AS IT GETS, which resulted in another Best Actor Oscar. In the 2000s, he was still very much in demand. He appeared in the hit comedy-drama ABOUT SCHMIDT in 2002; and in 2006, he had a scene-stealing role in Martin Scorsese’s THE DEPARTED. With countless hit movies, industry awards and even a special lifetime achievement honor– which was bestowed on him before he turned sixty– it is resoundingly clear that a lot of people appreciate a Jersey boy who made good.
 

1. the broken land (1962); fox; western; kent taylor; 70 mns.
2. the terror (1963); aip; horror; boris karloff; 81 mins.
3. back door to hell (1964); fox; war film; jimmie rodgers; 75 mins.
4. the shooting (1966); independent; western; warren oates; 82 mins.
5. easy rider (1969); columbia; drama; peter fonda; 95 mins.
6. five easy pieces (1970); columbia; drama; karen black; 96 mins.
7. carnal knowledge (1971); embassy; comedy-drama; art garfunkel; 97 mins.
8. the king of marvin gardens (1972); columbia; drama; bruce dern; 103 mins.
9. the last detail (1973); columbia; drama; randy quaid; 103 mins.
10. chinatown (1974); paramount; crime; faye dunaway; 131 mins.

[rayban]

 

 

When he was still a teenager, New Jersey native Jack Nicholson went to Hollywood. Shortly after he arrived, a relative helped him obtain an entry level job in the office of a top animator. He considered a career in animation only briefly; his heart was set on acting. He began to study his new craft with other hopefuls; and when Jack was nineteen, he appeared in his first low-budget film. It was hardly remarkable, but it was a start.

 

During the early 1960s, Jack continued to perfect his acting techniques. He befriended Roger Corman and he not only acted in several of Corman’s pictures, he also contributed to some of the scripts. Around this time, he also worked with director Monte Hellman on several “acid” westerns. Though the projects were not exactly hits with audiences or critics, they have since become recognized as cult classics. Meanwhile, Jack took guest roles on weekly TV series to pay the bills– he appeared in two color episodes of The Andy Griffith Show. Who could have guessed that a struggling performer stuck in low-budget fare and weekly television would someday become one of the most honored stars of his generation…?

 

It all changed in 1969 when Jack was cast in a pivotal supporting role in EASY RIDER. The anti-establishment film became a runaway hit. Overnight he had become a big name, and he now had an Oscar nomination (the first of twelve) to his credit. Critics were calling him the next Marlon Brando. This was a huge compliment since Brando was one of Jack’s movie idols. A year later, he turned in another celebrated performance as the lead in Bob Rafelson’s FIVE EASY PIECES. It was 1970, and several noteworthy collaborations were just ahead.

 

He worked with Art Garfunkel in Mike Nichols’ CARNAL KNOWLEDGE, and then starred with Faye Dunaway in Roman Polanski’s CHINATOWN. The next year he was named Best Actor for his work in ONE FLEW OVER THE CUCKOO’S NEST. Soon afterward, he had a chance to costar with Brando in Arthur Penn’s western THE MISSOURI BREAKS. His career was red hot, and the streak would continue.

 

During the 80s there were well-received performances in THE SHINING; TERMS OF ENDEARMENT (a Supporting Actor Oscar); PRIZZI’S HONOR; and BATMAN as a very memorable Joker. The 90s saw him in projects like A FEW GOOD MEN and AS GOOD AS IT GETS, which resulted in another Best Actor Oscar. In the 2000s, he was still very much in demand. He appeared in the hit comedy-drama ABOUT SCHMIDT in 2002; and in 2006, he had a scene-stealing role in Martin Scorsese’s THE DEPARTED. With countless hit movies, industry awards and even a special lifetime achievement honor– which was bestowed on him before he turned sixty– it is resoundingly clear that a lot of people appreciate a Jersey boy who made good.

 

1. the broken land (1962); fox; western; kent taylor; 70 mns.
2. the terror (1963); aip; horror; boris karloff; 81 mins.
3. back door to hell (1964); fox; war film; jimmie rodgers; 75 mins.
4. the shooting (1966); independent; western; warren oates; 82 mins.
5. easy rider (1969); columbia; drama; peter fonda; 95 mins.
6. five easy pieces (1970); columbia; drama; karen black; 96 mins.
7. carnal knowledge (1971); embassy; comedy-drama; art garfunkel; 97 mins.
8. the king of marvin gardens (1972); columbia; drama; bruce dern; 103 mins.
9. the last detail (1973); columbia; drama; randy quaid; 103 mins.
10. chinatown (1974); paramount; crime; faye dunaway; 131 mins.

 

He was such a wild man!

[TopBilled]

He was such a wild man!

 

Nicholson is a really nice guy in real life. A friend of mine was working as an extra on a movie and was in a scene with him. I think she was playing a server or cocktail waitress. He made a point of stopping her and putting his hand on her shoulder so the camera would move over and pick up her face and give her some screen time. He also ad-libbed a line with her, which gave her a much-needed credit with the Screen Actors Guild. She said he obviously remembered what it was like to be a struggling actor just starting in the business.

[TopBilled]

Can you guess the ones I will be spotlighting..?

 

In Hollywood from England

 

 

Wednesday January 25-- #444: She played a madame racketeer

Thursday January 26-- #445: Father of Vanessa, Corin and Lynn

Friday January 27-- #446: Actress known for roles in melodramas

Saturday January 28-- #447: Enforced the law in Fractured Jaw

Sunday January 29-- #448: Versatile lead and secondary actress

Monday January 30-- #449: Portrayed Shirley Temple's dad and Robin Hood

Tuesday January 31-- #450: Actress that often collaborated with Noel Coward

[TopBilled]

 

Alison Skipworth was born and raised in London, and she received the best education money could buy. During her twenties, she continued her studies and modeled. She fell in love with a man who painted her portrait, and they soon married. Because he was still a struggling artist, she began to take jobs in the theater to prove to her father they could make it on their own. Within a short period of time, she was in several hit plays then sailed for America a year later to appear on stage in New York.
 

It didn’t take much to convince Alison or her husband that a life in the U.S. was for them. They settled permanently in New York, and she continued to find roles. She made a name for herself in comedies playing grand ladies and other cheeky authority figures. When she wasn’t on Broadway, she toured as part of a well-regarded Shakespearean company. In the 1910s, she did a few silent shorts, and in the early 20s, she was cast in two silent features. One of these was for Adolph Zukor, and the other was for David Selznick’s father. But she spent more time on stage and appeared in over 40 Broadway productions.
 

Not all the Broadway plays Alison did were hits. After a few flops, she was eager to try motion pictures again. In 1930, Zukor’s studio (Paramount) was looking for theatrically trained performers to help make the transition to sound. Alison went to Hollywood, and she signed a long-term contract at Paramount. She had hits opposite George Raft, Carole Lombard and of course, W.C. Fields. She and Fields made four pictures together, and each one was a crowd-pleaser.
 

Alison kept busy on screen through much of the 1930s. She continued to work at Paramount, but took outside roles, too. For example, she had supporting roles in several Bette Davis films at Warners. Back at her home studio, she had top billing in two comedies. She also had lead roles at Republic opposite Mae Clarke and Polly Moran. However, in 1938, her Hollywood career tapered off because Alison wanted to return to the stage. For the next several years, she was in New York again delighting audiences with her latest performances on Broadway.
 

1. madame racketeer (1932); paramount; crime comedy; richard bennett; 72 mins.
2. night after night (1932); paramount; drama; george raft; 76 mins.
3. a lady’s profession (1933); paramount; comedy; roland young; 68 mins.
4. tillie and gus (1933); paramount; comedy; w.c. fields; 58 mins.
5. the casino murder case (1935); mgm; mystery; paul lukas; 82 mins.
6. hitch hike lady (1935); republic; comedy; mae clarke; 74 mins.
7. the princess comes across (1936); paramount; comedy; carole lombard; 76 mins.
8. satan met a lady (1936); warner brothers; crime; bette davis; 74 mins.
9. two wise maids (1937); republic; drama; polly moran; 70 mins.
10. ladies in distress (1938); republic; drama; polly moran; 54 mins.
     

[rayban]

 

Alison Skipworth was born and raised in London, and she received the best education money could buy. During her twenties, she continued her studies and modeled. She fell in love with a man who painted her portrait, and they soon married. Because he was still a struggling artist, she began to take jobs in the theater to prove to her father they could make it on their own. Within a short period of time, she was in several hit plays then sailed for America a year later to appear on stage in New York.

 

It didn’t take much to convince Alison or her husband that a life in the U.S. was for them. They settled permanently in New York, and she continued to find roles. She made a name for herself in comedies playing grand ladies and other cheeky authority figures. When she wasn’t on Broadway, she toured as part of a well-regarded Shakespearean company. In the 1910s, she did a few silent shorts, and in the early 20s, she was cast in two silent features. One of these was for Adolph Zukor, and the other was for David Selznick’s father. But she spent more time on stage and appeared in over 40 Broadway productions.

 

Not all the Broadway plays Alison did were hits. After a few flops, she was eager to try motion pictures again. In 1930, Zukor’s studio (Paramount) was looking for theatrically trained performers to help make the transition to sound. Alison went to Hollywood, and she signed a long-term contract at Paramount. She had hits opposite George Raft, Carole Lombard and of course, W.C. Fields. She and Fields made four pictures together, and each one was a crowd-pleaser.

 

Alison kept busy on screen through much of the 1930s. She continued to work at Paramount, but took outside roles, too. For example, she had supporting roles in several Bette Davis films at Warners. Back at her home studio, she had top billing in two comedies. She also had lead roles at Republic opposite Mae Clarke and Polly Moran. However, in 1938, her Hollywood career tapered off because Alison wanted to return to the stage. For the next several years, she was in New York again delighting audiences with her latest performances on Broadway.

 

1. madame racketeer (1932); paramount; crime comedy; richard bennett; 72 mins.
2. night after night (1932); paramount; drama; george raft; 76 mins.
3. a lady’s profession (1933); paramount; comedy; roland young; 68 mins.
4. tillie and gus (1933); paramount; comedy; w.c. fields; 58 mins.
5. the casino murder case (1935); mgm; mystery; paul lukas; 82 mins.
6. hitch hike lady (1935); republic; comedy; mae clarke; 74 mins.
7. the princess comes across (1936); paramount; comedy; carole lombard; 76 mins.
8. satan met a lady (1936); warner brothers; crime; bette davis; 74 mins.
9. two wise maids (1937); republic; drama; polly moran; 70 mins.
10. ladies in distress (1938); republic; drama; polly moran; 54 mins.

     

She was so much "fun" opposite George Raft and Mae West in "Night After Night".

[TopBilled]

She was so much "fun" opposite George Raft and Mae West in "Night After Night".

 

Yes, she certainly was. She's my favorite character actress of the golden age. I couldn't believe she had so many Broadway credits. If someone has a dozen, that's pretty good-- but she had at least 40. Her expertise at creating memorable characters was put to very good use in films of the 30s.

 

If you can track down HITCH HIKE LADY, it's worth seeing. She plays a woman from England who comes to America to visit her son at a posh resort called San Quentin. Of course, she doesn't realize this means her son has been incarcerated. She lands in New York then hitch hikes across the country with Mae Clarke on her way to visit her son in San Quentin. They have all kinds of adventures. It's a hoot.

[TopBilled]

 

Michael Redgrave was the youngest child born to parents who were both performers. Shortly after his birth, Michael’s father went to Australia and appeared in silent films. Mrs. Redgrave stayed in England and raised the children. When Michael was older, he decided in college he would work in education. But while teaching (he taught drama), he realized he would make performing his real career, just as it had been for his folks.
 

He joined an acting group outside London and perfected many roles in Shakespearean productions. During this time, he met and married actress Rachel Kempson who appeared with him on the stage. They would have three children together (Vanessa, Corin and Lynn– who all became well-known performers themselves). And despite Michael’s on-going struggles with his sexual orientation, he and Rachel remained married for fifty years. During the early years of their marriage, they remained busy acting. And as Michael made a name for himself in more Shakespearean roles, he caught the attention of an influential director– Alfred Hitchcock.
 

Michael’s motion picture debut was in Hitchcock’s 1938 classic THE LADY VANISHES. He was paired with Margaret Lockwood, with whom he would again costar in Carol Reed’s message drama THE STARS LOOK DOWN two years later. It was a strong beginning for Michael, though his priority continued to be the stage. He appeared in several more hit films, until he was called up for war service. After serving for a year and a half, he was discharged and went back to acting full time. There were more successes– KIPPS; THUNDER ROCK; and DEAD OF NIGHT (where he gave a chilling interpretation of a mad ventriloquist).
 

There was also a noteworthy production called THE CAPTIVE HEART, a war drama where he played a soldier stuck in a Nazi concentration camp. The woman he dreams of back home was played by his wife Rachel. With this string of cinematic successes, it was no surprise when Hollywood studios began to show interest in hiring Michael. He spent some quality time with the family, before he went to the U.S. to do a lead in RKO’s MOURNING BECOMES ELECTRA. He also appeared in a psychological thriller directed by Fritz Lang called SECRET BEYOND THE DOOR. For the RKO film, he earned an Oscar nomination.
 

Despite the praise being lavished on his performances in these two recent films, a major Hollywood career did not materialize. He went back to his wife and children in England and concentrated on stage work. While there were numerous theatrical productions during this period, he remained off movie screens for about four years.
 

When Michael returned to the movies, it was in one of his better starring roles. Drawing on his past experience as an educator, he played a very conflicted instructor in THE BROWNING VERSION, based on Terence Rattigan’s play. It was a role Michael did not originate on stage (Eric Portman had the honor), but it was one that fit him like a proverbial glove. He was named Best Actor at Cannes for his performance. He followed this with a key role in THE IMPORTANCE OF BEING EARNEST.
 

Afterward there were several war films in the mid-50s, including THE DAM BUSTERS with Richard Todd. Michael also appeared in the big screen adaptation of George Orwell’s 1984. He would continue to remain in demand until the early 1970s, though his film roles in the later period were usually of the supporting variety. The onset of Parkinson’s disease slowed him down, and for the last ten years of his life, failing health prevented further screen appearances. With the help of his son, Michael managed to set things straight in a last-minute autobiography that was published shortly before his death in 1985.
 

1. the lady vanishes (1938); gaumont; thriller; margaret lockwood; 97 mins.
2. kipps (1941); fox; comedy-drama; diana wynyard; 111 mins.
3. thunder rock (1942); mgm; drama; barbara mullen; 112 mins.
4. the captive heart (1946); ealing; war drama; rachel kempson; 104 mins.
5. secret beyond the door (1948); universal; thriller; joan bennett; 99 mins.
6. the browning version (1951); general film; drama; jean kent; 90 mins.
7. the importance of being earnest (1952); rank; romantic comedy; michael denison; 95 mins.
8. the dam busters (1955); british pathe; war film; richard todd; 91 mins.
9. law and disorder (1958); british lion; comedy; robert morley; 76 mins.
10. no my darling daughter (1961); rank; comedy; michael craig; 97 mins.

[rayban]

 

 

Michael Redgrave was the youngest child born to parents who were both performers. Shortly after his birth, Michael’s father went to Australia and appeared in silent films. Mrs. Redgrave stayed in England and raised the children. When Michael was older, he decided in college he would work in education. But while teaching (he taught drama), he realized he would make performing his real career, just as it had been for his folks.

 

He joined an acting group outside London and perfected many roles in Shakespearean productions. During this time, he met and married actress Rachel Kempson who appeared with him on the stage. They would have three children together (Vanessa, Corin and Lynn– who all became well-known performers themselves). And despite Michael’s on-going struggles with his sexual orientation, he and Rachel remained married for fifty years. During the early years of their marriage, they remained busy acting. And as Michael made a name for himself in more Shakespearean roles, he caught the attention of an influential director– Alfred Hitchcock.

 

Michael’s motion picture debut was in Hitchcock’s 1938 classic THE LADY VANISHES. He was paired with Margaret Lockwood, with whom he would again costar in Carol Reed’s message drama THE STARS LOOK DOWN two years later. It was a strong beginning for Michael, though his priority continued to be the stage. He appeared in several more hit films, until he was called up for war service. After serving for a year and a half, he was discharged and went back to acting full time. There were more successes– KIPPS; THUNDER ROCK; and DEAD OF NIGHT (where he gave a chilling interpretation of a mad ventriloquist).

 

There was also a noteworthy production called THE CAPTIVE HEART, a war drama where he played a soldier stuck in a Nazi concentration camp. The woman he dreams of back home was played by his wife Rachel. With this string of cinematic successes, it was no surprise when Hollywood studios began to show interest in hiring Michael. He spent some quality time with the family, before he went to the U.S. to do a lead in RKO’s MOURNING BECOMES ELECTRA. He also appeared in a psychological thriller directed by Fritz Lang called SECRET BEYOND THE DOOR. For the RKO film, he earned an Oscar nomination.

 

Despite the praise being lavished on his performances in these two recent films, a major Hollywood career did not materialize. He went back to his wife and children in England and concentrated on stage work. While there were numerous theatrical productions during this period, he remained off movie screens for about four years.

 

When Michael returned to the movies, it was in one of his better starring roles. Drawing on his past experience as an educator, he played a very conflicted instructor in THE BROWNING VERSION, based on Terence Rattigan’s play. It was a role Michael did not originate on stage (Eric Portman had the honor), but it was one that fit him like a proverbial glove. He was named Best Actor at Cannes for his performance. He followed this with a key role in THE IMPORTANCE OF BEING EARNEST.

 

Afterward there were several war films in the mid-50s, including THE DAM BUSTERS with Richard Todd. Michael also appeared in the big screen adaptation of George Orwell’s 1984. He would continue to remain in demand until the early 1970s, though his film roles in the later period were usually of the supporting variety. The onset of Parkinson’s disease slowed him down, and for the last ten years of his life, failing health prevented further screen appearances. With the help of his son, Michael managed to set things straight in a last-minute autobiography that was published shortly before his death in 1985.

 

1. the lady vanishes (1938); gaumont; thriller; margaret lockwood; 97 mins.
2. kipps (1941); fox; comedy-drama; diana wynyard; 111 mins.
3. thunder rock (1942); mgm; drama; barbara mullen; 112 mins.
4. the captive heart (1946); ealing; war drama; rachel kempson; 104 mins.
5. secret beyond the door (1948); universal; thriller; joan bennett; 99 mins.
6. the browning version (1951); general film; drama; jean kent; 90 mins.
7. the importance of being earnest (1952); rank; romantic comedy; michael denison; 95 mins.
8. the dam busters (1955); british pathe; war film; richard todd; 91 mins.
9. law and disorder (1958); british lion; comedy; robert morley; 76 mins.
10. no my darling daughter (1961); rank; comedy; michael craig; 97 mins.

 

I can always watch him in "The Importance of Being Earnest".

 

His overwhelming stylishness is addictive.

 

I also like him in "The Lady Vanishes" and "Dead Of Night".

 

He gave a very effective performance opposite Audie Murphy in "The Ugly American".

[rayban]

I can always watch him in "The Importance of Being Earnest".

 

His overwhelming stylishness is addictive.

 

I also like him in "The Lady Vanishes" and "Dead Of Night".

 

He gave a very effective performance opposite Audie Murphy in "The Ugly American".

 

He and Rosalind Russell are very good in "Mourning Becomes Electra", which, unfortunately, is very close to unwatchable.

[TopBilled]

I can always watch him in "The Importance of Being Earnest".

 

His overwhelming stylishness is addictive.

 

I also like him in "The Lady Vanishes" and "Dead Of Night".

 

He gave a very effective performance opposite Audie Murphy in "The Ugly American".

 

I think you might have meant THE QUIET AMERICAN. I wish TCM would show THE CAPTIVE HEART.

[rayban]

I think you might have meant THE QUIET AMERICAN. I wish TCM would show THE CAPTIVE HEART.

You are right, it is "The Quiet American".

[TopBilled]

 

Margaret Lockwood was born in India but spent most of her childhood raised by her mother in London. Her father had been married several times and was not around when Margaret made her stage debut at age 12. In her first role, she was a fairy in a version of ‘A Midsummer Night’s Dream.’ She impressed everyone in the audience, especially her mother; and a little star was born.
 

Margaret spent her teen years at a prestigious all-girls school where she studied acting. She appeared on stage again, and at 18 she was signed to make her first motion picture. She was third-billed in the production, which was an adaptation of LORNA DOONE. There were subsequent parts in other pictures, including a role opposite George Arliss, who was known for guiding new stars. A British studio, Gaumont, put her on a three-year contract, and she was upgraded to parts with top-name directors. She quickly made THE LADY VANISHES with Alfred Hitchcock, and BANK HOLIDAY with Carol Reed.
 

Hollywood came calling, and she went to America to make a Shirley Temple film at 20th Century Fox. She also costarred with Douglas Fairbanks in Paramount’s lavish spectacle RULERS OF THE SEA. There were more offers from American companies, but with the outbreak of war in Europe, she felt she had to get back home. In England, she worked with Carol Reed again in THE STARS LOOK DOWN; and she followed this up with two more Reed pictures, including NIGHT TRAIN TO MUNICH. She was usually typecast in these productions as a wholesome heroine, but all of that was about to change.
 

In 1943, Margaret took the first of her highly acclaimed villainous roles in a Gainsborough melodrama called THE MAN IN GREY, opposite James Mason. It was a big hit, and other fancy melodramas followed. The highpoint occurred in 1945 when she portrayed Barbara Worth in THE WICKED LADY. Again she was teamed with Mason, and it became the year’s most successful film in England. When it was exhibited in America, it ran into censorship problems and scenes had to be reshot for U.S. audiences.
 

Margaret was at the height of her film career during the immediate post-war years, and she was commanding a hefty salary. But by 1950, she decided the scripts being offered to her were inferior and she broke her contract. She concentrated on stage roles in the London theater, though she returned to the screen two years later when producer Herbert Wilcox hired her to make several more pictures. But in 1955, after she had finished filming the thriller CAST A DARK SHADOW, she decided to call it quits and get out of the movie business. Bryan Forbes managed to lure her back once more in 1976 for his musical THE SLIPPER AND THE ROSE. After all, who else could give Cinderella such a hard time, except the ultimate Wicked Lady!
 

1. doctor syn (1937); gainsborough; drama; george arliss; 78 mins.
2. bank holiday (1938); gainsborough; drama; john lodge; 86 mins.
3. susannah of the mounties (1938); fox; drama; shirley temple; 79 mins.
4. the stars look down (1940); grand national; drama; michael redgrave; 110 mins.
5. night train to munich (1940); fox; thriller; rex harrison; 95 mins.
6. the man in grey (1943); gainsborough; drama; james mason; 116 mins.
7. the wicked lady (1945); gainsborough; drama; james mason; 104 mins.
8. jassy (1947); gainsborough; drama; patricia roc; 100 mins.
9. cast a dark shadow (1955); eros; crime; dirk bogarde; 82 mins.
10. the slipper and the rose (1976); universal; musical; gemma craven; 143 mins.

[TopBilled]

 

When he was younger, Kenneth More was not sure what career would be best. At first he considered engineering, then he went to Canada to be a trapper; then he returned to England and wound up as a stage manager. But his true calling would be performing, and before long, he was up on stage as part of a comedy act. He quickly perfected his skills as a comedian, and this– mixed with his charm– made him a natural for theatrical roles and the film roles that would come his way after the war.
 

During the war, he joined the Navy– and the time at sea would prepare him for his most important cinematic roles as ADMIRAL CRICHTON and the second officer of the Titanic in A NIGHT TO REMEMBER. After the war, he returned to the stage where he was “discovered” by Noel Coward who promptly cast Kenneth in a new production. This led to small roles in British movies. By the early 50s, he gradually worked his way up to strong secondary parts.
 

It was his third-billed role in Rank’s crowd-pleasing comedy GENEVIEVE that turned him into a full-fledged movie star in 1953. On the strength of this performance– as well as his work in Terence Rattigan’s play ‘The Deep Blue Sea’– Kenneth was able to secure a long-term contract with the Rank Organisation that was shared with 20th Century Fox. When Fox turned Rattigan’s play into a feature film, he was cast opposite Vivien Leigh to recreate his stage role. Other prestigious films soon followed. These included the comedy RAISING A RIOT as well as  the chance to portray Douglas Bader in REACH FOR THE SKY, which was the top British motion picture of 1956.
 

Kenneth More’s hot streak continued during the 50s. Rank and Fox kept him busy in projects with Jayne Mansfield, Lauren Bacall and Shirley Anne Field. After his role as in A NIGHT TO REMEMBER, he was cast in a big budget remake of THE THIRTY-NINE STEPS. He was also in Lewis Gilbert’s war film SINK THE BISMARCK. But audience tastes would change in the 60s, and though Kenneth tried to adapt, his movie career began to sink just like the Titanic and the Bismarck.
 

Luckily, the actor was able to reinvent himself on British television. He played Young Jolyon in the BBC’s first adaptation of John Galsworthy’s The Forsyte Sage. And he followed it up with a starring role in Father Brown, based on G.K. Chesterton’s novel. He was also back on the big screen, playing the Ghost of Christmas Present in SCROOGE. He remained active until his retirement in 1980. His last acting appearance was in a CBS Hallmark Hall of Fame production of A Tale of Two Cities.
 

1. brandy for the parson (1952); associated british; comedy; james donald; 79 mins.
2. the deep blue sea (1955); fox; drama; vivien leigh; 96 mins.
3. reach for the sky (1956); rank; biopic; muriel pavlow; 136 mins.
4. the admiral crichton (1957); columbia; comedy; diane cilento; 94 mins.
5. a night to remember (1958); rank; drama; honor blackman; 123 mins.
6. next to no time (1958); british lion; comedy; betsy drake; 93 mins.
7. the sheriff of fractured jaw (1958); fox; western comedy; jayne mansfield; 103 mins.
8. flame over india (1959); rank; drama; lauren bacall; 129 mins.
9. sink the bismarck (1960); fox; war; dana wynter; 97 mins.
10. man in the moon (1960); rank; comedy; shirley anne field; 98 mins.

[rayban]

 

 

When he was younger, Kenneth More was not sure what career would be best. At first he considered engineering, then he went to Canada to be a trapper; then he returned to England and wound up as a stage manager. But his true calling would be performing, and before long, he was up on stage as part of a comedy act. He quickly perfected his skills as a comedian, and this– mixed with his charm– made him a natural for theatrical roles and the film roles that would come his way after the war.

 

During the war, he joined the Navy– and the time at sea would prepare him for his most important cinematic roles as ADMIRAL CRICHTON and the second officer of the Titanic in A NIGHT TO REMEMBER. After the war, he returned to the stage where he was “discovered” by Noel Coward who promptly cast Kenneth in a new production. This led to small roles in British movies. By the early 50s, he gradually worked his way up to strong secondary parts.

 

It was his third-billed role in Rank’s crowd-pleasing comedy GENEVIEVE that turned him into a full-fledged movie star in 1953. On the strength of this performance– as well as his work in Terence Rattigan’s play ‘The Deep Blue Sea’– Kenneth was able to secure a long-term contract with the Rank Organisation that was shared with 20th Century Fox. When Fox turned Rattigan’s play into a feature film, he was cast opposite Vivien Leigh to recreate his stage role. Other prestigious films soon followed. These included the comedy RAISING A RIOT as well as  the chance to portray Douglas Bader in REACH FOR THE SKY, which was the top British motion picture of 1956.

 

Kenneth More’s hot streak continued during the 50s. Rank and Fox kept him busy in projects with Jayne Mansfield, Lauren Bacall and Shirley Anne Field. After his role as in A NIGHT TO REMEMBER, he was cast in a big budget remake of THE THIRTY-NINE STEPS. He was also in Lewis Gilbert’s war film SINK THE BISMARCK. But audience tastes would change in the 60s, and though Kenneth tried to adapt, his movie career began to sink just like the Titanic and the Bismarck.

 

Luckily, the actor was able to reinvent himself on British television. He played Young Jolyon in the BBC’s first adaptation of John Galsworthy’s The Forsyte Sage. And he followed it up with a starring role in Father Brown, based on G.K. Chesterton’s novel. He was also back on the big screen, playing the Ghost of Christmas Present in SCROOGE. He remained active until his retirement in 1980. His last acting appearance was in a CBS Hallmark Hall of Fame production of A Tale of Two Cities.

 

1. brandy for the parson (1952); associated british; comedy; james donald; 79 mins.
2. the deep blue sea (1955); fox; drama; vivien leigh; 96 mins.
3. reach for the sky (1956); rank; biopic; muriel pavlow; 136 mins.
4. the admiral crichton (1957); columbia; comedy; diane cilento; 94 mins.
5. a night to remember (1958); rank; drama; honor blackman; 123 mins.
6. next to no time (1958); british lion; comedy; betsy drake; 93 mins.
7. the sheriff of fractured jaw (1958); fox; western comedy; jayne mansfield; 103 mins.
8. flame over india (1959); rank; drama; lauren bacall; 129 mins.
9. sink the bismarck (1960); fox; war; dana wynter; 97 mins.
10. man in the moon (1960); rank; comedy; shirley anne field; 98 mins.

 

He was an actor of great charm - and great skill, too.

 

He was unforgettable in "The Admirable Crichton".

 

And he actually shared the screen - beautifully - with Jayne Mansfield in "The Sheriff Of Fractured Jaw".

 

He dominates the re-make of "The Thirty-Nine Steps" with his undeniable charm.

 

Charm is an almost undefinable quality that a lot of actors do not possess.

 

He possessed it - in buckets!! 

[TopBilled]

He was an actor of great charm - and great skill, too.

 

He was unforgettable in "The Admirable Crichton".

 

And he actually shared the screen - beautifully - with Jayne Mansfield in "The Sheriff Of Fractured Jaw".

 

He dominates the re-make of "The Thirty-Nine Steps" with his undeniable charm.

 

Charm is an almost undefinable quality that a lot of actors do not possess.

 

He possessed it - in buckets!! 

 

When some male actors exhibit charm, they are still quite boyish and in a way immature. But Kenneth More had charm plus a very potent masculinity-- he did not come across as a boy but as a real man in his pictures.