Golden age: Roll call

[TopBilled]

I agree.   Malone deserves at least a day.   Hey they could show Basic Instinct. 

 

She's very good in BASIC INSTINCT. It was a tricky role and somehow she managed to make a woman who had killed her family seem sympathetic. 

[TopBilled]

 

Kim Hunter’s father was an engineer and her mother was in the arts. When Kim was old enough to decide which career path she would follow, she chose the arts and began to study acting. In 1943 she had landed a movie contract at RKO and was featured in Val Lewton’s horror film THE SEVENTH VICTIM. Another RKO picture followed, and she was on her way to the great successes that would come later.
 

But for every step forward there seemed to be a step backward– at least in the early days. She was dropped by RKO, then went to England and found work with J. Arthur Rank’s company. She was put in A MATTER OF LIFE AND DEATH, costarring with David Niven in one of Powell & Pressburger’s most classic films. The romance fantasy was a hit and still retains a cult following. After the picture was completed, Kim went back to the U.S. and became a founding member of the Actors Studio.
 

During her time in New York she and fellow Actors Studio members Marlon Brando and Karl Malden were cast in an Elia Kazan production on Broadway. It was the original version of ‘A Streetcar Named Desire’ by Tennessee Williams. Kim played beleaguered wife Stella Kowalski in the drama, earning raves from critics and audiences. When Warner Brothers turned it into a feature film in the early 50s, she recreated her role and earned a Golden Globe and an Oscar as best supporting actress.
 

Despite such enormous success, Kim’s motion picture career quickly lost momentum when she was blacklisted. She managed a nice turn in a 20th Century Fox drama with Humphrey Bogart, called DEADLINE U.S.A., but she would remain off movie screens for several years. In the meantime, she focused on stage work and did parts on TV anthology shows. In the late 1960s she rebounded with one of her most iconic roles, as a chimpanzee scientist in three installments of Fox’s PLANET OF THE APES.
 

1. the seventh victim (1943); rko; horror; tom conway; 71 mins.
2. tender comrade (1943); rko; drama; ginger rogers; 101 mins.
3. you came along (1945); paramount; comedy drama; lizabeth scott; 102 mins.
4. a matter of life and death (1946); rank; romance fantasy; david niven; 104 mins.
5. a streetcar named desire (1951); warner brothers; drama; marlon brando; 122 mins.
6. deadline u.s.a. (1952); fox; drama; humphrey bogart; 87 mins.
7. storm center (1956); columbia; drama; bette davis; 85 mins.
8. the young stranger (1957); rko; drama; james macarthur; 84 mins.
9. lilith (1964); columbia; drama; jean seberg; 114 mins.
10. planet of the apes (1968); fox; science fiction; charlton heston; 112 mins.

[rayban]

 

 

Kim Hunter’s father was an engineer and her mother was in the arts. When Kim was old enough to decide which career path she would follow, she chose the arts and began to study acting. In 1943 she had landed a movie contract at RKO and was featured in Val Lewton’s horror film THE SEVENTH VICTIM. Another RKO picture followed, and she was on her way to the great successes that would come later.

 

But for every step forward there seemed to be a step backward– at least in the early days. She was dropped by RKO, then went to England and found work with J. Arthur Rank’s company. She was put in A MATTER OF LIFE AND DEATH, costarring with David Niven in one of Powell & Pressburger’s most classic films. The romance fantasy was a hit and still retains a cult following. After the picture was completed, Kim went back to the U.S. and became a founding member of the Actors Studio.

 

During her time in New York she and fellow Actors Studio members Marlon Brando and Karl Malden were cast in an Elia Kazan production on Broadway. It was the original version of ‘A Streetcar Named Desire’ by Tennessee Williams. Kim played beleaguered wife Stella Kowalski in the drama, earning raves from critics and audiences. When Warner Brothers turned it into a feature film in the early 50s, she recreated her role and earned a Golden Globe and an Oscar as best supporting actress.

 

Despite such enormous success, Kim’s motion picture career quickly lost momentum when she was blacklisted. She managed a nice turn in a 20th Century Fox drama with Humphrey Bogart, called DEADLINE U.S.A., but she would remain off movie screens for several years. In the meantime, she focused on stage work and did parts on TV anthology shows. In the late 1960s she rebounded with one of her most iconic roles, as a chimpanzee scientist in three installments of Fox’s PLANET OF THE APES.

 

1. the seventh victim (1943); rko; horror; tom conway; 71 mins.
2. tender comrade (1943); rko; drama; ginger rogers; 101 mins.
3. you came along (1945); paramount; comedy drama; lizabeth scott; 102 mins.
4. a matter of life and death (1946); rank; romance fantasy; david niven; 104 mins.
5. a streetcar named desire (1951); warner brothers; drama; marlon brando; 122 mins.
6. deadline u.s.a. (1952); fox; drama; humphrey bogart; 87 mins.
7. storm center (1956); columbia; drama; bette davis; 85 mins.
8. the young stranger (1957); rko; drama; james macarthur; 84 mins.
9. lilith (1964); columbia; drama; jean seberg; 114 mins.
10. planet of the apes (1968); fox; science fiction; charlton heston; 112 mins.

 

She and her husband lived above The Cherry Lane Theater in the West Village (NYC).

 

I used to see them on the street.

[TopBilled]

She and her husband lived above The Cherry Lane Theater in the West Village (NYC).

 

I used to see them on the street.

 

That's great. She was married to actor Robert Emmett. They certainly had an interesting life.

[TopBilled]

 

She was known as one of film noir’s bad girls– on and off the screen– but Gloria Grahame was good at what she did. She was a skilled actress who earned an Oscar as best supporting actress. For many years, she held the record as the actress to receive the award for the least amount of screen time (about nine minutes for her work in THE BAD AND THE BEAUTIFUL).
 

She was raised by a mother who had been an actress in Britain. As little Gloria grew up, she was taught the finer points of acting and before she had finished high school she was embarking upon a professional stage career. She had already been on Broadway for a few years when at the age of 21, L.B. Mayer signed her to make movies. Unfortunately, MGM was unable to turn her into a major star. After appearing in a few comedies, including one with Red Skelton, her contract was sold to RKO.
 

Gloria hit her stride at RKO in crime dramas like CROSSFIRE, MACAO and SUDDEN FEAR (where she clashed with Joan Crawford). Studio boss Howard Hughes loaned her to Columbia where she did more noir-type roles alongside Humphrey Bogart and Glenn Ford. The coffee scalding scene in THE BIG HEAT is perhaps her most memorable moment. Given the strength of these performances, MGM was eager to employ her again. The experience led to her Oscar victory and kept her career going as RKO was starting to fold.
 

In the early 60s, Gloria’s movie career had waned. There were personal problems, including a nervous breakdown, that caused her to remain off screen for awhile. Gradually, she bounced back, turning up in guest roles on television. Also, she began to make a name for herself again in various stage productions. In the 70s, she had minor roles in films– usually in crime dramas– and she dealt with on-going health issues. In the early 80s, she was working in Britain (bringing her career and her mother’s legacy full circle).
 

1. blonde fever (1944); mgm; comedy; mary astor; 69 mins.
2. merton of the movies (1947); mgm; comedy; red skelton; 82 mins.
3. crossfire (1947); rko; crime; robert mitchum; 86 mins.
4. in a lonely place (1950); columbia; crime; humphrey bogart; 94 mins.
5. sudden fear (1952); rko; crime; joan crawford; 110 mins.
6. the bad and the beautiful (1952); mgm; drama; dick powell; 118 mins.
7. the big heat (1953); columbia; crime; glenn ford; 89 mins.
8. naked alibi (1954); universal; crime; sterling hayden; 86 mins.
9. the man who never was (1956); fox; war; clifton webb; 103 mins.
10. odds against tomorrow (1959); ua; crime; robert ryan; 95 mins.

[rayban]

 

 

She was known as one of film noir’s bad girls– on and off the screen– but Gloria Grahame was good at what she did. She was a skilled actress who earned an Oscar as best supporting actress. For many years, she held the record as the actress to receive the award for the least amount of screen time (about nine minutes for her work in THE BAD AND THE BEAUTIFUL).

 

She was raised by a mother who had been an actress in Britain. As little Gloria grew up, she was taught the finer points of acting and before she had finished high school she was embarking upon a professional stage career. She had already been on Broadway for a few years when at the age of 21, L.B. Mayer signed her to make movies. Unfortunately, MGM was unable to turn her into a major star. After appearing in a few comedies, including one with Red Skelton, her contract was sold to RKO.

 

Gloria hit her stride at RKO in crime dramas like CROSSFIRE, MACAO and SUDDEN FEAR (where she clashed with Joan Crawford). Studio boss Howard Hughes loaned her to Columbia where she did more noir-type roles alongside Humphrey Bogart and Glenn Ford. The coffee scalding scene in THE BIG HEAT is perhaps her most memorable moment. Given the strength of these performances, MGM was eager to employ her again. The experience led to her Oscar victory and kept her career going as RKO was starting to fold.

 

In the early 60s, Gloria’s movie career had waned. There were personal problems, including a nervous breakdown, that caused her to remain off screen for awhile. Gradually, she bounced back, turning up in guest roles on television. Also, she began to make a name for herself again in various stage productions. In the 70s, she had minor roles in films– usually in crime dramas– and she dealt with on-going health issues. In the early 80s, she was working in Britain (bringing her career and her mother’s legacy full circle).

 

1. blonde fever (1944); mgm; comedy; mary astor; 69 mins.
2. merton of the movies (1947); mgm; comedy; red skelton; 82 mins.
3. crossfire (1947); rko; crime; robert mitchum; 86 mins.
4. in a lonely place (1950); columbia; crime; humphrey bogart; 94 mins.
5. sudden fear (1952); rko; crime; joan crawford; 110 mins.
6. the bad and the beautiful (1952); mgm; drama; dick powell; 118 mins.
7. the big heat (1953); columbia; crime; glenn ford; 89 mins.
8. naked alibi (1954); universal; crime; sterling hayden; 86 mins.
9. the man who never was (1956); fox; war; clifton webb; 103 mins.
10. odds against tomorrow (1959); ua; crime; robert ryan; 95 mins.

 

Was she the only movie star who married one of her directors, Nicholas Ray, and, then, later, his son?

[TopBilled]

Was she the only movie star who married one of her directors, Nicholas Ray, and, then, later, his son?

 

I believe she had children with both men (as well as a child with a husband in between). Her marriage to the son lasted longer, though it ended in divorce.

[JamesJazGuitar]

I believe she had children with both men (as well as a child with a husband in between). Her marriage to the son lasted longer, though it ended in divorce.

 

Wow that must have made for some strange holiday events!

[TopBilled]

Wow that must have made for some strange holiday events!

 

Some of the strain from those marriages within the same family led to her breakdown in the early 60s. 

 

From what I've read, her children were devoted to her, especially near the end of her life. 

[TopBilled]

 

Judy Holliday didn’t appear in many motion pictures but she still managed to make a lasting impression on movie audiences. She had started working as a switchboard operator at Orson Welles’ Mercury Theater office, and on the side she joined a nightclub act with musical comedy writers Betty Comden and Adolph Green. Their group was a hit, and they played many clubs over the next several years.
 

When the group split up, Judy headed to Hollywood. She was signed by 20th Century Fox and had a few uncredited parts. Her movie career did not take off during that time. Eventually she went back east and rededicated herself to stage performances. Her efforts paid off and within a year she was on Broadway, praised for her work in ‘Kiss Them for Me.’ Soon afterward she landed the lead role of Billie Dawn in the comedy ‘Born Yesterday’ which had been intended for Jean Arthur.
 

Columbia Pictures purchased the rights to turn ‘Born Yesterday’ into a motion picture, but boss Harry Cohn was not sold on Judy. He wanted someone who was a bigger name to play Billie on screen. Friends George Cukor and Katharine Hepburn didn’t want to see her lose the opportunity to recreate her stage role, so they had her cast in MGM’s comedy ADAM’S RIB. Judy played the woman Kate represents in the courtroom. Cohn was finally convinced that he should hire Judy for BORN YESTERDAY. Cukor directed her to an Oscar-winning performance.
 

During the 50s Judy was under contract to Columbia. She worked with Cukor again in the romantic comedy drama THE MARRYING KIND, and then she made two wildly popular rom-coms with Jack Lemmon. After this, there was a change of pace when she did a drama with Richard Conte. When Cohn died, Judy’s contract was dropped. But she was back on the Broadway stage, wowing everyone with her latest performance in BELLS ARE RINGING. She received a Tony award and made the film version at MGM with Dean Martin. In BELLS ARE RINGING she played a character she knew from personal experience– a telephone switchboard operator. I wonder if Orson Welles was watching.
 

1. adam’s rib (1949); mgm; comedy; katharine hepburn; 101 mins.
2. born yesterday (1950); columbia; comedy; broderick crawford; 103 mins.
3. the marrying kind (1952); columbia; comedy; aldo ray; 92 mins.
4. it should happen to you (1954); columbia; comedy; jack lemmon; 86 mins.
5. phffft! (1954); columbia; comedy; jack lemmon; 88 mins.
6. the solid gold cadillac (1956); columbia; comedy; paul douglas; 99 mins.
7. full of life (1956); columbia; drama; richard conte; 91 mins.
8. bells are ringing (1960); mgm; musical comedy; dean martin; 126 mins.

[rayban]

 

 

Judy Holliday didn’t appear in many motion pictures but she still managed to make a lasting impression on movie audiences. She had started working as a switchboard operator at Orson Welles’ Mercury Theater office, and on the side she joined a nightclub act with musical comedy writers Betty Comden and Adolph Green. Their group was a hit, and they played many clubs over the next several years.

 

When the group split up, Judy headed to Hollywood. She was signed by 20th Century Fox and had a few uncredited parts. Her movie career did not take off during that time. Eventually she went back east and rededicated herself to stage performances. Her efforts paid off and within a year she was on Broadway, praised for her work in ‘Kiss Them for Me.’ Soon afterward she landed the lead role of Billie Dawn in the comedy ‘Born Yesterday’ which had been intended for Jean Arthur.

 

Columbia Pictures purchased the rights to turn ‘Born Yesterday’ into a motion picture, but boss Harry Cohn was not sold on Judy. He wanted someone who was a bigger name to play Billie on screen. Friends George Cukor and Katharine Hepburn didn’t want to see her lose the opportunity to recreate her stage role, so they had her cast in MGM’s comedy ADAM’S RIB. Judy played the woman Kate represents in the courtroom. Cohn was finally convinced that he should hire Judy for BORN YESTERDAY. Cukor directed her to an Oscar-winning performance.

 

During the 50s Judy was under contract to Columbia. She worked with Cukor again in the romantic comedy drama THE MARRYING KIND, and then she made two wildly popular rom-coms with Jack Lemmon. After this, there was a change of pace when she did a drama with Richard Conte. When Cohn died, Judy’s contract was dropped. But she was back on the Broadway stage, wowing everyone with her latest performance in BELLS ARE RINGING. She received a Tony award and made the film version at MGM with Dean Martin. In BELLS ARE RINGING she played a character she knew from personal experience– a telephone switchboard operator. I wonder if Orson Welles was watching.

 

1. adam’s rib (1949); mgm; comedy; katharine hepburn; 101 mins.
2. born yesterday (1950); columbia; comedy; broderick crawford; 103 mins.
3. the marrying kind (1952); columbia; comedy; aldo ray; 92 mins.
4. it should happen to you (1954); columbia; comedy; jack lemmon; 86 mins.
5. phffft! (1954); columbia; comedy; jack lemmon; 88 mins.
6. the solid gold cadillac (1956); columbia; comedy; paul douglas; 99 mins.
7. full of life (1956); columbia; drama; richard conte; 91 mins.
8. bells are ringing (1960); mgm; musical comedy; dean martin; 126 mins.

 

It's so rare that an actress wins an Best Actress Oscar for a comedy performance. 

[TopBilled]

It's so rare that an actress wins an Best Actress Oscar for a comedy performance. 

 

Great point, Ray. Comedy films and comedy performances tend to be overlooked by Oscar voters. But if anyone could overcome the bias it was the supremely talented Judy Holliday.

[TopBilled]

 

Gale Sondergaard was born and raised in the midwest. She studied acting in college and joined a touring theatrical group that specialized in Shakespearean productions. Their travels took her to the east coast, where she joined a prestigious theater guild. A short time later Gale met director Herbert Biberman who became her husband. They had two children, and then both ventured west to Hollywood.
 

In 1936 the Academy of Motion Picture Arts & Sciences created new categories to honor performances by supporting actors and supporting actresses. Gale was the first recipient of the Oscar for best supporting actress, receiving unanimous praise from peers for her debut movie role in ANTHONY ADVERSE. Warner Brothers quickly put her into a follow-up film with Paul Muni, and it too was a hit. She remained busy for the rest of the 30s and 1940s. By 1940 she had moved over to Paramount. At her new studio Gale enjoyed a rare lead in a western opposite Tito Guizar, and she also played a spooky creole woman in the Bob Hope crime comedy THE CAT AND THE CANARY.
 

She was typecast as cunning women and took on increasingly sinister characters. She played a killer in Warners’ remake of THE LETTER; was tangled up in a murder in Columbia’s A NIGHT TO REMEMBER; and was very devious as the title character in Universal’s THE SPIDER WOMAN, an installment of the Sherlock Holmes series. She inked a contract to stay at Universal and appeared in a variety of motion pictures, usually portraying ruthless women. Universal gave Gale her own horror film called THE SPIDER WOMAN STRIKES BACK, but she was cast as a different character than what she had played in the Holmes picture.
 

In the late 40s Gale’s cinematic career suffered a huge setback when her husband was blacklisted and sent to jail as one of the Hollywood Ten. She was forced to withdraw from movies but continued to support Biberman. They sold their west coast home and went back to New York and concentrated on stage productions. It wouldn’t be until 1969 when Gale resumed her screen acting. She turned up in various guest roles on television in the 70s, and there was one last major appearance opposite Richard Harris in THE RETURN OF A MAN CALLED HORSE.
 

1. anthony adverse (1936); warner brothers; drama; fredric march; 141 mins.
2. the life of emile zola (1937); warner brothers; drama; paul muni; 116 mins.
3. the cat and the canary (1939); paramount; crime; bob hope; 72 mins.
4. the blue bird (1940); fox; fantasy; shirley temple; 88 mins.
5. the letter (1940); warner brothers; drama; bette davis; 95 mins.
6. a night to remember (1942); columbia; crime; loretta young; 91 mins.
7. the spider woman (1944); universal; crime; basil rathbone; 62 mins.
8. the spider woman strikes back (1946); universal; horror; rondo hatton; 59 mins.
9. anna and the king of siam (1946); fox; drama; irene dunne; 128 mins.
10. the return of a man called horse (1976); ua; western; richard harris; 129 mins.

[rayban]

 

 

Gale Sondergaard was born and raised in the midwest. She studied acting in college and joined a touring theatrical group that specialized in Shakespearean productions. Their travels took her to the east coast, where she joined a prestigious theater guild. A short time later Gale met director Herbert Biberman who became her husband. They had two children, and then both ventured west to Hollywood.

 

In 1936 the Academy of Motion Picture Arts & Sciences created new categories to honor performances by supporting actors and supporting actresses. Gale was the first recipient of the Oscar for best supporting actress, receiving unanimous praise from peers for her debut movie role in ANTHONY ADVERSE. Warner Brothers quickly put her into a follow-up film with Paul Muni, and it too was a hit. She remained busy for the rest of the 30s and 1940s. By 1940 she had moved over to Paramount. At her new studio Gale enjoyed a rare lead in a western opposite Tito Guizar, and she also played a spooky creole woman in the Bob Hope crime comedy THE CAT AND THE CANARY.

 

She was typecast as cunning women and took on increasingly sinister characters. She played a killer in Warners’ remake of THE LETTER; was tangled up in a murder in Columbia’s A NIGHT TO REMEMBER; and was very devious as the title character in Universal’s THE SPIDER WOMAN, an installment of the Sherlock Holmes series. She inked a contract to stay at Universal and appeared in a variety of motion pictures, usually portraying ruthless women. Universal gave Gale her own horror film called THE SPIDER WOMAN STRIKES BACK, but she was cast as a different character than what she had played in the Holmes picture.

 

In the late 40s Gale’s cinematic career suffered a huge setback when her husband was blacklisted and sent to jail as one of the Hollywood Ten. She was forced to withdraw from movies but continued to support Biberman. They sold their west coast home and went back to New York and concentrated on stage productions. It wouldn’t be until 1969 when Gale resumed her screen acting. She turned up in various guest roles on television in the 70s, and there was one last major appearance opposite Richard Harris in THE RETURN OF A MAN CALLED HORSE.

 

1. anthony adverse (1936); warner brothers; drama; fredric march; 141 mins.
2. the life of emile zola (1937); warner brothers; drama; paul muni; 116 mins.
3. the cat and the canary (1939); paramount; crime; bob hope; 72 mins.
4. the blue bird (1940); fox; fantasy; shirley temple; 88 mins.
5. the letter (1940); warner brothers; drama; bette davis; 95 mins.
6. a night to remember (1942); columbia; crime; loretta young; 91 mins.
7. the spider woman (1944); universal; crime; basil rathbone; 62 mins.
8. the spider woman strikes back (1946); universal; horror; rondo hatton; 59 mins.
9. anna and the king of siam (1946); fox; drama; irene dunne; 128 mins.
10. the return of a man called horse (1976); ua; western; richard harris; 129 mins.

 

I loved her - corrupting Freddie Bartholomew - in "Lord Jeff".

[TopBilled]

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

 

Tough guys

 

 

Sunday February 26-- #472: He drove by night with Bogey

Monday February 27-- #473: Post-war tough guy at Warners

Tuesday February 28-- #474: MGM's highest paid star in the 1930s

Wednesday March 1-- #475: Earned an Oscar in 1950

Thursday March 2-- #476: Threw an old woman in a wheelchair down the stairs

Friday March 3-- #477: Married to Joanne Dru

Saturday March 4-- #478: Quintessential pirate

[TopBilled]

 

George Raft was born in a tough section of New York (Hell’s Kitchen), and a lot of his pals were members of the local gangs in that area. George could have gone into a life of crime, but fortunately for us, he went into show biz. He demonstrated great skill as a dancer in his teens and when he was old enough, he was hoofing professionally. He quickly became one of the more popular guys on and off the dance floor.
 

During the mid-20s he became part of Texas Guinan’s nightclub act. In 1929 he made his first film in support of her– Warner Brother’s aptly titled QUEEN OF THE NIGHT CLUBS. George followed this up with two other pictures without her as an unbilled dancer. In 1931 he had small roles in several pictures at Fox but still hadn’t yet caught on with the moviegoing public. A year later he went back to Warners and had a good scene as a dancer in a Jimmy Cagney movie called TAXI! He also had a remarkable supporting role in SCARFACE, probably drawing on what he had been exposed to in his old neighborhood. Paramount noticed George’s on-screen charisma, and he was offered a contract. Within a year he was starring in his own films, and they were smash hits.
 

Throughout the 1930s George increased his box office clout. He did comedies, gangster pictures, musicals where could show off his dancing, and adventure yarns. He worked with Mae West, Alison Skipworth, Gary Cooper, Carole Lombard and other major stars. His career was hot during this decade, and after he left Paramount in the late 30s, he went back to Warner Brothers. At Warners he enjoyed more hits– he teamed up with Cagney again in EACH DAWN I DIE; he appeared alongside Marlene Dietrich in MANPOWER; and costarred with William Holden and Humphrey Bogart in INVISIBLE STRIPES.
 

But in 1943 he left Warners, dissatisfied with the parts being offered. He became a freelancer and as an independent producer made films that were often exhibited through RKO. He continued to turn out hits in the mid-to-late 40s, usually appearing in film noir and romance dramas. By the early 50s, George’s movie career went into decline. He headlined a radio program and then a weekly television series, still taking parts in films but now usually in supporting roles. He had also invested in a Cuban casino and when he wasn’t working as a movie actor he was a visible presence in the world of gambling. Life was one big gamble and when George Raft rolled the dice, he came out a winner.
 

1. night after night (1932); paramount; drama; mae west; 76 mins.
2. scarface (1932); ua; crime; paul muni; 95 mins.
3. bolero (1934); paramount; musical drama; carole lombard; 85 mins.
4. souls at sea (1937); paramount; adventure; gary cooper; 92 mins.
5. each dawn i die (1939); warner brothers; crime; james cagney; 92 mins.
6. invisible stripes (1939); warner brothers; crime; william holden; 81 mins.
7. they drive by night (1940); warner brothers; drama; ann sheridan; 95 mins.
8. the house across the bay (1940); ua; drama; joan bennett; 88 mins.
9. johnny angel (1945); rko; crime; claire trevor; 79 mins.
10. nocturne (1946); rko; crime; lynn bari; 87 mins.

[rayban]

 

 

George Raft was born in a tough section of New York (Hell’s Kitchen), and a lot of his pals were members of the local gangs in that area. George could have gone into a life of crime, but fortunately for us, he went into show biz. He demonstrated great skill as a dancer in his teens and when he was old enough, he was hoofing professionally. He quickly became one of the more popular guys on and off the dance floor.

 

During the mid-20s he became part of Texas Guinan’s nightclub act. In 1929 he made his first film in support of her– Warner Brother’s aptly titled QUEEN OF THE NIGHT CLUBS. George followed this up with two other pictures without her as an unbilled dancer. In 1931 he had small roles in several pictures at Fox but still hadn’t yet caught on with the moviegoing public. A year later he went back to Warners and had a good scene as a dancer in a Jimmy Cagney movie called TAXI! He also had a remarkable supporting role in SCARFACE, probably drawing on what he had been exposed to in his old neighborhood. Paramount noticed George’s on-screen charisma, and he was offered a contract. Within a year he was starring in his own films, and they were smash hits.

 

Throughout the 1930s George increased his box office clout. He did comedies, gangster pictures, musicals where could show off his dancing, and adventure yarns. He worked with Mae West, Alison Skipworth, Gary Cooper, Carole Lombard and other major stars. His career was hot during this decade, and after he left Paramount in the late 30s, he went back to Warner Brothers. At Warners he enjoyed more hits– he teamed up with Cagney again in EACH DAWN I DIE; he appeared alongside Marlene Dietrich in MANPOWER; and costarred with William Holden and Humphrey Bogart in INVISIBLE STRIPES.

 

But in 1943 he left Warners, dissatisfied with the parts being offered. He became a freelancer and as an independent producer made films that were often exhibited through RKO. He continued to turn out hits in the mid-to-late 40s, usually appearing in film noir and romance dramas. By the early 50s, George’s movie career went into decline. He headlined a radio program and then a weekly television series, still taking parts in films but now usually in supporting roles. He had also invested in a Cuban casino and when he wasn’t working as a movie actor he was a visible presence in the world of gambling. Life was one big gamble and when George Raft rolled the dice, he came out a winner.

 

1. night after night (1932); paramount; drama; mae west; 76 mins.
2. scarface (1932); ua; crime; paul muni; 95 mins.
3. bolero (1934); paramount; musical drama; carole lombard; 85 mins.
4. souls at sea (1937); paramount; adventure; gary cooper; 92 mins.
5. each dawn i die (1939); warner brothers; crime; james cagney; 92 mins.
6. invisible stripes (1939); warner brothers; crime; william holden; 81 mins.
7. they drive by night (1940); warner brothers; drama; ann sheridan; 95 mins.
8. the house across the bay (1940); ua; drama; joan bennett; 88 mins.
9. johnny angel (1945); rko; crime; claire trevor; 79 mins.
10. nocturne (1946); rko; crime; lynn bari; 87 mins.

 

George Raft, Edward G. Robinson and Marlene Dietrich were a memorable trio in "Manpower".

[TopBilled]

George Raft, Edward G. Robinson and Marlene Dietrich were a memorable trio in "Manpower".

 

MANPOWER was a remake of an earlier Warner Brothers film called SLIM. Raft and Robinson were playing roles first done by Henry Fonda and Pat O'Brien. Dietrich was doing Margaret Lindsay's old part.

[TopBilled]

 

Steve Cochran came from a working class family in Wyoming. He didn’t want to be a logger like his father, and while he was in college, he decided acting was the way to go. When he went to Hollywood, Steve didn’t make it on screen right away and found work as part of a Shakespearean group that performed up and down the southern California coast.
 

During the war he directed and put on shows at army bases, though he had been rejected for military service due to a heart condition. At the end of the war Steve was back in Hollywood and made his first few pictures at Columbia. These were B films in which he had supporting roles, but they helped him get the attention of producer Samuel Goldwyn. Soon Steve was under contract to the well-known producer, appearing in some musical comedies with Danny Kaye. There was also a musical comedy with Groucho Marx. Plus Goldwyn cast him in a smallish role THE BEST YEARS OF OUR LIVES.
 

By 1949 Steve had moved over to Warner Brothers where he quickly found his niche playing gangsters and other assorted tough guys. He had a memorable role in WHITE HEAT alongside James Cagney, then he was featured in a series of crime dramas and westerns where he costarred in support of big names like Gary Cooper and Joan Crawford.
 

The studio also gave Steve his first lead role in 1950– it was HIGHWAY 301 with Virginia Grey. It was a hit and led to similar pictures. Until the end of his contract in 1952, he continued to alternate between supporting roles in more prestigious productions and leads in modestly budgeted fare. After he had finished at Warners, he became a freelancer.
 

In the mid-to-late 50s, Steve turned to television and to producing. His movie career was in decline, but he worked in notable productions like Republic’s outstanding drama COME NEXT SPRING opposite Ann Sheridan. In the 60s, he was seen in foreign-produced films and he tried his hand at directing. His last film, which he directed, was released two years after his untimely death.
 

1. copacabana (1947); ua; musical comedy; groucho marx; 92 mins.
2. a song is born (1948); rko; musical comedy; danny kaye; 113 mins.
3. white heat (1949); warner brothers; crime; james cagney; 115 mins.
4. the damned don’t cry (1950); warner brothers; crime; joan crawford; 103 mins.
5. highway 301 (1950); warner brothers; crime; virginia grey; 83 mins.
6. inside the walls of folsom prison (1951); warner brothers; crime; david brian; 87 mins.
7. storm warning (1951); warner brothers; crime; ginger rogers; 93 mins.
8. tomorrow is another day (1951); warner brothers; crime; ruth roman; 92 mins.
9. the desert song (1953); warner brothers; musical adventure; kathryn grayson; 110 mins.
10. come next spring (1956); republic; drama; ann sheridan; 92 mins.

[rayban]

 

 

Steve Cochran came from a working class family in Wyoming. He didn’t want to be a logger like his father, and while he was in college, he decided acting was the way to go. When he went to Hollywood, Steve didn’t make it on screen right away and found work as part of a Shakespearean group that performed up and down the southern California coast.

 

During the war he directed and put on shows at army bases, though he had been rejected for military service due to a heart condition. At the end of the war Steve was back in Hollywood and made his first few pictures at Columbia. These were B films in which he had supporting roles, but they helped him get the attention of producer Samuel Goldwyn. Soon Steve was under contract to the well-known producer, appearing in some musical comedies with Danny Kaye. There was also a musical comedy with Groucho Marx. Plus Goldwyn cast him in a smallish role THE BEST YEARS OF OUR LIVES.

 

By 1949 Steve had moved over to Warner Brothers where he quickly found his niche playing gangsters and other assorted tough guys. He had a memorable role in WHITE HEAT alongside James Cagney, then he was featured in a series of crime dramas and westerns where he costarred in support of big names like Gary Cooper and Joan Crawford.

 

The studio also gave Steve his first lead role in 1950– it was HIGHWAY 301 with Virginia Grey. It was a hit and led to similar pictures. Until the end of his contract in 1952, he continued to alternate between supporting roles in more prestigious productions and leads in modestly budgeted fare. After he had finished at Warners, he became a freelancer.

 

In the mid-to-late 50s, Steve turned to television and to producing. His movie career was in decline, but he worked in notable productions like Republic’s outstanding drama COME NEXT SPRING opposite Ann Sheridan. In the 60s, he was seen in foreign-produced films and he tried his hand at directing. His last film, which he directed, was released two years after his untimely death.

 

1. copacabana (1947); ua; musical comedy; groucho marx; 92 mins.
2. a song is born (1948); rko; musical comedy; danny kaye; 113 mins.
3. white heat (1949); warner brothers; crime; james cagney; 115 mins.
4. the damned don’t cry (1950); warner brothers; crime; joan crawford; 103 mins.
5. highway 301 (1950); warner brothers; crime; virginia grey; 83 mins.
6. inside the walls of folsom prison (1951); warner brothers; crime; david brian; 87 mins.
7. storm warning (1951); warner brothers; crime; ginger rogers; 93 mins.
8. tomorrow is another day (1951); warner brothers; crime; ruth roman; 92 mins.
9. the desert song (1953); warner brothers; musical adventure; kathryn grayson; 110 mins.
10. come next spring (1956); republic; drama; ann sheridan; 92 mins.

[rayban]

He was terrific as Doris Day's husband in "Storm Warning".

 

He also starred in an early film of Michelangelo Antonioni's.

 

He also made quite an impression in MGM's "Scandal" oppposite Van Johnson.

 

(In order to stop his shameful publishing career, his own mother had to kill him!)

[TopBilled]

 

Wallace Beery was as tough off screen as he was on screen. He had quit school and run off to join the circus in his teens. After a few years he left the circus, and then went east to look up an older brother. Both his brothers were pursuing goals in show biz, and Wallace decided he could do that too. He wound up in some stage shows, then in the mid-1910s started finding jobs in short silent films.
 

He soon became popular doing comedy shorts. A series of these films spoofed his tough guy image by having him play a character in drag. But eventually, Wallace began to do more serious roles. He had a short-lived marriage to Gloria Swanson whose career was bigger than his at the time, and they costarred on screen. The relationship ended badly, but he moved forward by concentrating on the supporting roles that were coming his way.
 

The mid-to-late 20s were good years for him professionally. He was in many hit films and had become popular with audiences. But as successful as those years in silent pictures may have been, Wallace would do even better when sound came in. MGM’s Irving Thalberg liked his voice and the way he did character-type roles. This resulted in Wallace being put on a long-term contract at Metro. Soon there were hits like THE BIG HOUSE and MIN AND BILL. The following year the Wallace Beery movie formula was perfected when he starred in THE CHAMP and earned an Oscar. He became the highest paid actor at MGM, earning more than Greta Garbo and Thalberg’s wife Norma Shearer. But the studio’s investment was fully merited– all of Wallace’s sound films from 1930 to 1949 were profitable.
 

Notable collaborations during these years included films with Marie Dressler and Marjorie Main, who portrayed world-weary gals that put up with his antics. He also worked frequently with Jackie Cooper and made several films with Mickey Rooney. While Cooper did not particularly get along with him off screen, Rooney certainly did. Mickey and his father (Joe Yule Sr.) remained very close to Wallace Beery. After both men died, they were buried near each other.
 

1. the big house (1930); mgm; crime; chester morris; 87 mins.
2. min and bill (1930); mgm; drama; marie dressler; 66 mins.
3. the champ (1931); mgm; drama; jackie cooper; 87 mins.
4. the bowery (1933); ua; action; george raft; 92 mins.
5. viva villa! (1934); mgm; drama; fay wray; 115 mins.
6. treasure island (1934); mgm; adventure; jackie cooper; 105 mins.
7. ah, wilderness! (1935); mgm; comedy; lionel barrymore; 98 mins.
8. the bad man of brimstone (1937); mgm; western; virginia bruce; 89 mins.
9. sergeant madden (1939); mgm; crime; tom brown; 80 mins.
10. barnacle bill (1941); mgm; comedy; marjorie main; 90 mins.

[rayban]

 

 

Wallace Beery was as tough off screen as he was on screen. He had quit school and run off to join the circus in his teens. After a few years he left the circus, and then went east to look up an older brother. Both his brothers were pursuing goals in show biz, and Wallace decided he could do that too. He wound up in some stage shows, then in the mid-1910s started finding jobs in short silent films.

 

He soon became popular doing comedy shorts. A series of these films spoofed his tough guy image by having him play a character in drag. But eventually, Wallace began to do more serious roles. He had a short-lived marriage to Gloria Swanson whose career was bigger than his at the time, and they costarred on screen. The relationship ended badly, but he moved forward by concentrating on the supporting roles that were coming his way.

 

The mid-to-late 20s were good years for him professionally. He was in many hit films and had become popular with audiences. But as successful as those years in silent pictures may have been, Wallace would do even better when sound came in. MGM’s Irving Thalberg liked his voice and the way he did character-type roles. This resulted in Wallace being put on a long-term contract at Metro. Soon there were hits like THE BIG HOUSE and MIN AND BILL. The following year the Wallace Beery movie formula was perfected when he starred in THE CHAMP and earned an Oscar. He became the highest paid actor at MGM, earning more than Greta Garbo and Thalberg’s wife Norma Shearer. But the studio’s investment was fully merited– all of Wallace’s sound films from 1930 to 1949 were profitable.

 

Notable collaborations during these years included films with Marie Dressler and Marjorie Main, who portrayed world-weary gals that put up with his antics. He also worked frequently with Jackie Cooper and made several films with Mickey Rooney. While Cooper did not particularly get along with him off screen, Rooney certainly did. Mickey and his father (Joe Yule Sr.) remained very close to Wallace Beery. After both men died, they were buried near each other.

 

1. the big house (1930); mgm; crime; chester morris; 87 mins.
2. min and bill (1930); mgm; drama; marie dressler; 66 mins.
3. the champ (1931); mgm; drama; jackie cooper; 87 mins.
4. the bowery (1933); ua; action; george raft; 92 mins.
5. viva villa! (1934); mgm; drama; fay wray; 115 mins.
6. treasure island (1934); mgm; adventure; jackie cooper; 105 mins.
7. ah, wilderness! (1935); mgm; comedy; lionel barrymore; 98 mins.
8. the bad man of brimstone (1937); mgm; western; virginia bruce; 89 mins.
9. sergeant madden (1939); mgm; crime; tom brown; 80 mins.
10. barnacle bill (1941); mgm; comedy; marjorie main; 90 mins.

 

I loved him as Jane Powell's father in "A Date With Judy".

 

His film persona tended to be overpowering, though.

[TopBilled]

I loved him as Jane Powell's father in "A Date With Judy".

 

His film persona tended to be overpowering, though.

 

I agree. The scenes with Wallace Beery and Carmen Miranda in that film are priceless.

[TopBilled]

 

He was a larger-than-life but lovable tough guy. Broderick Crawford was respected by his peers, because he brought considerable show biz experience to each of his performances. His grandparents had started in vaudeville, and so did his parents, who later found work in the movies. Brod was accepted into Harvard but turned his back on an academic career to follow his heart as a performer. He would reach the summit of show biz success when he earned an Oscar for playing Willie Stark in ALL THE KING’S MEN.
 

It was his 37th motion picture. Brod had started on screen a decade earlier with a minor role in a Sam Goldwyn film. In the late 30s and early 40s, he found a series of strong supporting parts at Paramount. At the same time his movie career was gaining traction, his mother (Helen Broderick) was enjoying considerable success as a character actress, usually in romantic comedies and musical comedies at RKO. However, mother and son never appeared together on screen. Around the time Helen retired, Brod had joined the army during the war. When his military duty ended, he was back on screen either at Universal or Warner Brothers. He realized he didn’t have the leading man looks to get the really big parts, so he settled with playing strong secondary roles. But all that changed when Columbia cast him as Willie Stark.
 

In the 50s he was unstoppable. Columbia used him in comedies (BORN YESTERDAY) and westerns (THE LAST POSSE), and his tough guy image was on display in all these films– usually as a villain. This phase of Brod’s career peaked with his role as a vicious hardened criminal in BIG HOUSE U.S.A. After this he went over to television and the right side of the law as the star of a popular weekly series– Highway Patrol. For four seasons he played gruff policeman Dan Mathews and became even more of a household name. At the same time Brod continued to appear in big budget motion pictures.
 

After his hit TV series ended Brod went to Europe and made films in Italy and other countries. He returned to the U.S. in the 60s and tried another weekly show that was short-lived. He continued to remain busy with jobs in low budget films and guest work on various TV programs. Despite an on-going drinking problem, Brod worked steadily until the early 80s. His last screen appearance was in an episode of Simon & Simon where he played, you guessed it, another tough guy.
 

1. slightly honorable (1939); ua; mystery; pat o’brien; 85 mins.
2. when the daltons rode (1940); universal; western; randolph scott; 81 mins.
3. larceny, inc. (1942); warner brothers; crime; edward g. robinson; 95 mins.
4. black angel (1946); universal; crime; dan duryea; 81 mins.
5. all the king’s men (1949); columbia; drama; john ireland; 109 mins.
6. convicted (1950); columbia; crime; glenn ford; 91 mins.
7. born yesterday (1950); columbia; comedy drama; judy holliday; 103 mins.
8. the last posse (1953); columbia; western; john derek; 73 mins.
9. down three dark streets (1954); ua; crime; ruth roman; 85 mins.
10. big house, u.s.a. (1955); ua; crime; ralph meeker; 83 mins.