Cremated Men
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Johnny Carson, the legendary "King of Late Night TV" who dominated the medium's nether hours for three decades, was born in Corning, Iowa, but moved with his family to nearby Norfolk, Nebraska when he was eight years old. He was the son of Ruth E. (Hook) and Homer Lloyd "Kit" Carson, a manager of the Iowa-Nebraska Light & Power Company. It was in Norfolk, where he lived until he was inducted into the U.S. Navy in 1943, that he started his show business career. At age 14, Carson began appearing as the magician "The Great Carsoni" at local venues.
In 1962, Carson was chosen by NBC to succeed the controversial Jack Paar and his The Tonight Show Starring Jack Paar (1957). Paar had decided to quit the show and begin a once-a-week show for NBC in prime time on Friday nights. Carson would never be controversial like Paar, preferring to good-naturedly skewer politicians and celebrities in his opening monologue and staging stunts such as the on-stage marriage of retro-singer Tiny Tim to his "Miss Vicky" in 1969. His popularity with the late-night audience became so great, and the income from advertising on his show so profitable that, in 1967, NBC had to lure Johnny back to The Tonight Show Starring Johnny Carson (1962)after a walkout with a three-year contract guaranteeing him a minimum of $4 million. In the early 1970s, TV Guide reported that Carson was earning $2 million a year, making him the highest paid TV entertainer ever, a record he repeatedly surpassed, pulling down a then-record $5 million annual salary in the 1980s. Carson created a sense of intimacy with his guests and audiences that made him the unvanquished "King of Nighttime TV". Countless talk shows hosted by the likes of Joey Bishop and Dick Cavett and other non-talk show programs were launched against him year after year only to fail, with the notable exception of ABC News Nightline (1980) halfway through his reign. His tempestuous love-life, which included two high-profile divorces, became the fodder of such celebrity staples as "The National Enquirer" and later "People Magazine", and he was even the subject of a roman a clef pulp novel in the early 1970s. There have been at least seven published biographies of Carson.
After brief stints on radio stations in Omaha and Lincoln, Nebraska, his career was exclusively in television, starting with work at Nebraska TV stations in the late 1940s which preceded his 1951-53 skit program Carson's Cellar (1953) on Los Angeles station KNXT-TV. Attracting the attention of the industry, he was hired as a comedy writer for The Red Skelton Hour (1951) which provided him with a career breakthrough when Skelton was injured backstage and Carson substituted for him, delivering his first monologue before a national audience. This led to a stint as the host of the quiz show Earn Your Vacation (1954) and the variety showcase The Johnny Carson Show (1953) in 1955-56. The man who would soon become the most famous late-night TV personality in history hosted the daytime game show Who Do You Trust? (1956) from 1957-62, teaming up with longtime sidekick, Ed McMahon, in 1958.
Before his triumph on The Tonight Show Starring Johnny Carson (1962), Carson tried his hand at dramatic acting, appearing in Three Men on a Horse (1957) (episode # 1.29) during the inaugural season of Playhouse 90 (1956) in 1957. In 1960, he shot a pilot for a prime-time TV series, "Johnny Come Lately", that was not picked up by a network. Carson had sat in for "Tonight Show" host Jack Paar in 1958 and, when Paar left the show four years later, NBC chose Carson as his replacement, taking over the catbird seat on October 2, 1962. The Tonight Show Starring Johnny Carson (1962). Sidekick McMahon's "Heeeeere's Johnny!!!" introduction of Carson became a cultural catchphrase, memorably reprised by Jack Nicholson in Stanley Kubrick's The Shining (1980), Woody Allen's character in the Best Picture Academy Award-winning Annie Hall (1977), stand-up comic Alvy Singer, is recognized in front of a movie theater by a street tough due to his appearance on "The Tonight Show".
Aside from his banter with celebrities, he amused his audience for 30 years with broadly played skit comedy by his "Mighty Carson Art Players" and his spoof clairvoyant "Carnac the Magnificent". He made memorable put-downs of politicians and celebrities, a format that was used by his successors Jay Leno and David Letterman and legions of comics who came after him. When a joke bombed during his monologues, Carson would do a wounded double-take as the audience jeered, fully aware of the awfulness of the joke he had just unloaded. Following these bombs with a sly, self-deprecating remark engendered a sense of intimacy between Carson and his fans.
A liberal in the increasingly liberal age of the 1960s and 1970s, so powerful were his opening monologues that by the early 1970s, he could actually affect society at large outside of the pop culture realm. A joke about a shortage of industrial grade toilet paper caused a national panic and a run on all grades of t.p., with a resulting shortage of the product about which he had kidded. Playing off current events such as the Watergate crisis, his comic evisceration of President Richard Nixon was credited with some critics as exerting such a drag on Nixon's approval rating that it made his resignation possible, if not inevitable. After Carson's reign, it became increasingly de rigueur for politicians to appear on late-night TV talk shows and bear a host's jibes in order to stump for votes.
Carson's connection with the American culture was so absolute, it contributed to one of his few failures, the rejection of "The Tonight Show" in the early 1980s by British audiences who could not understand the topical references of his monologues. And his audience's identification of Johnny with the "Tonight Show" effectively stopped him from work in other media. In the mid-1960s, Carson's agents wanted to trade on his vast popularity to position him in motion pictures as the "New Jack Lemmon", but Carson never made any forays outside of television. His connection with the movie industry remained his hosting of three generations of stars and his memorable turns as the host of five Academy Awards telecasts from 1979-84. In that role, he generally is regarded as the best successor to long-time Oscar host Bob Hope. He did stretch his wings as a producer, his Carson Productions producing TV pilots and series, TV movies and [error], in addition to his own talk show.
The six-time Emmy-winner considered a follow-up to "The Tonight Show", but nothing caught his interest and he spent the last decade of his life in a quiet retirement in Malibu, California, as befitted his private nature. Thus, it was "The Tonight Show" that remains his creative legacy. Unlike every other TV star, he remained on top until the very end, the show winning its ratings period every year for 30 years. When Carson retired, his last appearance was one of the highest rated late night TV shows ever.
"I have an ego like anybody else", Carson told The Washington Post in 1993, "but I don't need to be stoked by going before the public all the time". Frederick De Cordova, the producer of "The Tonight Show" throughout Carson's 30-year run, believed that Carson never pressured himself to launch a follow-up as he already had achieved unprecedented success on TV. "He is one of a kind, was one of a kind", De Cordova said in 1995. "I don't think there's any reason for him to try something different".
Carson, who was suffering from emphysema and had quadruple bypass surgery in 1999, died peacefully at the age of 79 on January 23, 2005, surrounded by his family and friends. In terms of career longevity, popularity, peer respect and impact on the medium, Carson ranks with Lucille Ball and Jackie Gleason as a television great.His ashes were scattered in the Pacific Ocean.- Music Artist
- Composer
- Music Department
Born in New York City, Tupac grew up primarily in Harlem. In 1984, his family moved to Baltimore, Maryland where he became good friends with Jada Pinkett Smith. His family moved again in 1988 to Oakland, California. His first breakthrough in music came in 1991 as a member of the group Digital Underground. In the same year he received individual recognition for his album "2Pacalypse Now," but this album was also the beginning of his notoriety as a leading figure of the gangster permutation of hip-hop, with references to cop killing and sexual violence. His solo movie career also began in this year with Juice (1992), and in 1992 he co-starred with Janet Jackson in Poetic Justice (1993).
However, law confrontations were soon to come: A 15-day jail term in 1994 for assault and battery and, in 1995, a conviction for sexual assault of a female fan. After serving 8 months pending an appeal, Shakur was released from jail.He was cremated upon his death. His ashes are buried at his mother's farm in North Carolina.- Writer
- Actor
Arthur Sheekman was born on 5 February 1901 in Chicago, Illinois, USA. He was a writer and actor, known for Duck Soup (1933), Call Me Madam (1953) and Roman Scandals (1933). He was married to Gloria Stuart. He died on 12 January 1978 in Los Angeles, California, USA.His ashes were buried below a tree on his Brentwood home with Gloria Stuart in Los Angeles, California.- Actor
- Producer
- Soundtrack
Joey Adams was born on 6 January 1911 in Brooklyn, New York, USA. He was an actor and producer, known for Singing in the Dark (1956), Ringside (1949) and Don't Worry, We'll Think of a Title (1966). He was married to Cindy Adams. He died on 2 December 1999 in New York City, New York, USA.Ashes are with his wife, Cindy Adams.- Producer
- Writer
Edgar Rosenberg was born on 21 September 1925 in Fürth, Bavaria, Germany. He was a producer and writer, known for Rabbit Test (1978), The Poppy Is Also a Flower (1966) and Joan Rivers and Friends Salute Heidi Abromowitz (1988). He was married to Joan Rivers. He died on 14 August 1987 in Philadelphia, Pennsylvania, USA.His ashes are with his wife, Joan Rivers. She scattered some on the Late Show with David Letterman during a recent appearance.- Actor
- Writer
- Producer
Robin McLaurin Williams was born on Saturday, July 21st, 1951, in Chicago, Illinois, a great-great-grandson of Mississippi Governor and Senator, Anselm J. McLaurin. His mother, Laurie McLaurin (née Janin), was a former model from Mississippi, and his father, Robert Fitzgerald Williams, was a Ford Motor Company executive from Indiana. Williams had English, German, French, Welsh, Irish, and Scottish ancestry.
Robin briefly studied political science at Claremont Men's College and theater at College of Marin before enrolling at The Juilliard School to focus on theater. After leaving Juilliard, he performed in nightclubs where he was discovered for the role of "Mork, from Ork", in an episode of Happy Days (1974). The episode, My Favorite Orkan (1978), led to his famous spin-off weekly TV series, Mork & Mindy (1978). He made his feature starring debut playing the title role in Popeye (1980), directed by Robert Altman.
Williams' continuous comedies and wild comic talents involved a great deal of improvisation, following in the footsteps of his idol Jonathan Winters. Williams also proved to be an effective dramatic actor, receiving Academy Award nominations for Best Actor in a Leading Role in Good Morning, Vietnam (1987), Dead Poets Society (1989), and The Fisher King (1991), before winning the Academy Award for Best Actor in a Supporting Role in Good Will Hunting (1997).
During the 1990s, Williams became a beloved hero to children the world over for his roles in a string of hit family-oriented films, including Hook (1991), FernGully: The Last Rainforest (1992), Aladdin (1992), Mrs. Doubtfire (1993), Jumanji (1995), Flubber (1997), and Bicentennial Man (1999). He continued entertaining children and families into the 21st century with his work in Robots (2005), Happy Feet (2006), Night at the Museum (2006), Night at the Museum: Battle of the Smithsonian (2009), Happy Feet Two (2011), and Night at the Museum: Secret of the Tomb (2014). Other more adult-oriented films for which Williams received acclaim include The World According to Garp (1982), Moscow on the Hudson (1984), Awakenings (1990), The Birdcage (1996), Insomnia (2002), One Hour Photo (2002), World's Greatest Dad (2009), and Boulevard (2014).
On Monday, August 11th, 2014, Robin Williams was found dead at his home in Tiburon, California USA, the victim of an apparent suicide, according to the Marin County Sheriff's Office. A 911 call was received at 11:55 a.m. PDT, firefighters and paramedics arrived at his home at 12:00 p.m. PDT, and he was pronounced dead at 12:02 p.m. PDT.Ashes scattered in San Francisco Bay.- Actor
- Writer
Michael Zaslow was born on November 1, 1942 in Inglewood, California and was an actor and writer, best known for his work in daytime dramas, or soap operas. He was married twice, to Joanne Dorian and Susan Hufford, by whom he had two daughters, Helena and Marika. He died on December 6, 1998 in New York City, succumbing to amyotrophic lateral sclerosis (ALS), a nerve-cell disorder better known as Lou Gehrig's disease.
Michael's Broadway credits included Fiddler on the Roof, Cat on a Hot Tin Roof, Boccaccio, and Onward Victoria, while he appeared in the films You Light Up My Life, Meteor, and Seven Minutes in Heaven, and guested on numerous primetime series, from Star Trek (1966) to Law and Order (1990). He acted in several soap operas, namely CBS's Search for Tomorrow (1951) and Love Is a Many Spledored Thing (1967), and ABC's One Life to Live (1968), and wrote for NBC's Another World (1964). But he was best known for portraying the manipulative businessman Roger Thorpe on the CBS daytime drama (The) Guiding Light, the longest running dramatic series of any genre, beginning January 25, 1937 on radio, and playing from June 30, 1952 to September 18, 2009 on television. Michael received four Emmy nominations playing the villainous Roger Thorpe from 1971 to 1980, and again from 1989 to 1997, and garnered a Daytime Emmy for Outstanding Lead Actor in a Drama Series in 1994 for the role. He was a favorite of both critics and fans.His ashes are with family.- Actor
- Soundtrack
Ed Bryce was born on 24 September 1921 in Allentown, Pennsylvania, USA. He was an actor, known for Tom Corbett, Space Cadet (1950), Decoy (1957) and Suspicion (1957). He was married to Dorothy Bryce. He died on 6 December 1999 in Fairfield, Connecticut, USA.His ashes were interred at a church garden in Connecticut.- Actor
- Writer
- Producer
Without a doubt Gary Coleman was THE child TV star of the late 1970s and early 1980s. A refreshingly confident little tyke with sparkling dark, saucer-like eyes and an ingratiating, take-on-anyone burst of personality, the boy charmed the pants right off of TV viewers the minute he was glimpsed in national commercials. Amazed by how mature he came across, Gary was in truth older than he looked, which was brought upon by a congenital kidney condition. Sadly, the pint-sized phenomena outgrew his chubby-cheeked welcome and found the course of his grown-up Hollywood career brutally rough and patchy. The fragile condition of his health coupled with this lack of adult career acceptance, sparked an aggressively defensive behavior mechanism in his adult years and led to great personal unhappiness, chronic legal/financial hassles and early death.
He was born Gary Wayne Coleman on February 8, 1968, to a homeless woman, and was adopted by a fork-lift operator and his nurse practitioner wife from a Chicago hospital when he was just a few days old. Raised in Zion, Illinois, it was discovered that little Gary had severe health issues before the age of 2. Born with one atrophied kidney and an endangering weak second one, he had two kidney transplants by the time he reached age 16 and the effects of his dialysis medication permanently stunted his growth (to 4'8").
A highly precocious comedy cut-up on-camera, Gary proved a natural in local Chicago commercials. As his commercials spread nationwide, audiences began wondering just who this diminutive dynamo was. Norman Lear's talent scout spotted him in a Chicago bank commercial (he was 9 at the time) and decided to reveal to the world who the little guy was. Brought in to brighten up such Lear sitcoms as "The Jeffersons" and "Good Times" (the latter as a friend of little Janet Jackson's character), NBC quickly recognized the boy's comedy prowess and handed the 10-year-old his own prime-time sitcom playground to mug in.
While Diff'rent Strokes (1978)'s underlying approach was to preach racial and social tolerance (it revolved around two lower-class African-American brothers from Harlem who are taken in and adopted by a wealthy, debonair Park Avenue white man after their housekeeper mother dies), the show's powers-that-be smartly deduced that it was the wisecracking gifts of young Coleman, who played the youngest brother, Arnold Jackson, that gave the show its spark. Deemed "NBC's Littlest Big Man," Gary's sly, pouting-lipped delivery of, "What'chu talkin' about, Willis?" soon became a popular American catchphrase.
Legendary comics such as Bob Hope and Lucille Ball absolutely gushed about the little boy's comedy genius and Gary soon became a hit on the talk show circuit, trading clever banter with the likes of Johnny Carson among others. The boy was also outfitted with a series of lightweight TV-movie showcases which included The Kid from Left Field (1979), Scout's Honor (1980), The Kid with the Broken Halo (1982), The Kid with the 200 I.Q. (1983), The Fantastic World of D.C. Collins (1984) and Playing with Fire (1985). All of them wisely centered around Gary's adorable persona. Modest film comedies also came his way with On the Right Track (1981) and Jimmy the Kid (1982). Topping it all off, the Hanna-Barbera-produced series The Gary Coleman Show (1982) produced an animated version of the child star. Little Gary would make close to $18 million during his nearly decade-long TV reign.
Like many others in his shoes, however, the aging Coleman felt trapped and pigeonholed by his stifling juvenile image and begged to get out from under it. The 18-year-old was truly thankful when the series ended in 1986. Coleman found, however, that a very fickle public was not as receptive to seeing him grow up. Like fellow TV star Emmanuel Lewis, Coleman began aging in appearance but remained trapped in the body of a young boy and the contrast proved too strange for audiences. As a result, Hollywood had little resources as to what to do with Gary Coleman the man. It wasn't long before Coleman was reduced to making weird guest appearances and small parts in even smaller films.
This crash course in reality triggered an increasingly erratic and aggressive behavior in Gary Coleman as he became increasingly angry and bitter about his lack of work when he was so used to be on top of everything. The subsequent tragedies suffered by all three young stars from the "Diff'rent Strokes" show, in fact, was sold out as a jinx package known as the "Diff'rent Strokes curse". While distaff co-star Dana Plato fell heavily into drug addiction, petty crime and pornography before taking her own life in 1999, Todd Bridges, who played Coleman's older brother, battled major cocaine abuse and was later charged (but acquitted of) attempted murder in the late 1980s.
In addition to his life-long health issues, Gary's adult problems came in the form of scattered financial and legal entanglements, as well as scrapes with the law. He was once arrested in 1999 for punching a persistent female autograph fan, in which he was fined and ordered to take anger-management classes. This became tabloid fodder for late night comics who joked that he must have landed "several good uppercuts." He also had many disorderly conduct and reckless driving charges brought up against him at various times. He would admit that the tally of his life problems led to more than a few feigned suicide attempts. In 1989, Coleman successfully sued his adopted parents and business manager after they allegedly pilfered his youthful fortune for their own self interest totaling $3.8 million in losses, and he won $1,280,000. Despite the large settlement, all of the money was soon spent on taxes, legal fees, as well as his increasingly high medical bills for his continuing dialysis treatments. As a result by 1999 (with no steady acting work) Coleman had to declare bankruptcy, finding work outside the Hollywood industry as a security guard. For self-preservation, he went the reality-show route and became the object of self-mocking cameos to help bring in some cash. As a gag, he ran for California's 2003 governorship during its recall election.
In 2007, he married the much younger actress Shannon Price, whom he met on the set of the low budget film Church Ball (2006), but the quickly marriage dissolved quickly into domestic squabbles that put him in front of the court system yet again on domestic abuse charges. He later moved and settled in Utah.
In early 2009, Coleman managed to star in his very last film, the crude independent comedy Midgets vs. Mascots (2009) filmed in Dallas, Texas before the end came. Following heart surgery complicated by pneumonia in the fall of 2009, he suffered a heart seizure in February 2010 while performing on a Hollywood set. The 42-year-old actor died of a brain hemorrhage on May 28, 2010, after suffering an epidural haematoma from a fall at home. A sad end to a very bright and talented, but very troubled and bitter, child star who, at his peak, brought such joy to TV audiences.Ashes are with family.- Actor
- Director
- Writer
Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.Ashes were scattered on his island in Tahiti.- Actor
- Director
- Cinematographer
When hunky, twenty-year-old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of little depth. He spent several years trying desperately to sway this image, but this was a double-edged sword. His work comprised nineteen films, including 10 Things I Hate About You (1999), The Patriot (2000), A Knight's Tale (2001), Monster's Ball (2001), Ned Kelly (2003), The Brothers Grimm (2005), Lords of Dogtown (2005), Brokeback Mountain (2005), Casanova (2005), Candy (2006), I'm Not There (2007), The Dark Knight (2008) and The Imaginarium of Doctor Parnassus (2009). He also produced and directed music videos and aspired to be a film director.
Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia, to Sally (Ramshaw), a teacher of French, and Kim Ledger, a mining engineer who also raced cars. His ancestry was Scottish, English, Irish, and Sephardi Jewish. As the story goes, in junior high school it was compulsory to take one of two electives, either cooking or drama. As Heath could not see himself in a cooking class he tried his hand at drama. Heath was talented, however the rest of the class did not acknowledge his talent. When he was seventeen he and a friend decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams were made or, at least, where actors could possibly get their big break. Upon arriving in Sydney with a purported sixty-nine cents to his name, Heath tried everything to get a break.
His first real acting job came in a low-budget movie called Blackrock (1997), a largely unimpressive cliché; an adolescent angst film about one boy's struggle when he learns his best mate raped a girl. He only had a very small role in the film. After that small role Heath auditioned for a role in a T.V. show called Sweat (1996) about a group of young Olympic hopefuls. He was offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, forcing him to look for other roles. He was in Home and Away (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in Paws (1997), a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this offered him a small paycheck but did nothing to advance his career. Then came Two Hands (1999). He went to the U.S. trying to audition for film roles, showcasing his brief role in Roar (1997) opposite then unknown Vera Farmiga.
Then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Things I Hate About You (1999). After that, it seemed Heath was being typecast as a young hunk, which he did not like, so he accepted a role in a very serious war drama The Patriot (2000).
What followed was a stark inconsistency of roles, Ledger accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005). For his portrayal of Ennis Del Mar in in the film, Ledger won the New York Film Critics Circle Award for Best Actor and Best International Actor from the Australian Film Institute, and was nominated for the BAFTA Award for Best Actor in a Leading Role and for the Academy Award for Best Actor.
Ledger was found dead on January 22, 2008 in his apartment in the Manhattan neighborhood of SoHo, with a bottle of prescription sleeping pills near-by. It was concluded weeks later that he died of an accidental overdose of prescription drugs that included pain-killers, sleeping pills and anti-anxiety medication. His death occurred during editing of The Dark Knight (2008) and in the midst of filming his last role as Tony in The Imaginarium of Doctor Parnassus (2009).
Posthumously, he shared the 2007 Independent Spirit Robert Altman Award with the rest of the ensemble cast, the director, and the casting director for the film I'm Not There (2007), which was inspired by the life and songs of American singer-songwriter Bob Dylan. In the film, Ledger portrayed a fictional actor named Robbie Clark, one of six characters embodying aspects of Dylan's life and persona.
A few months before his death, Ledger had finished filming his performance as the Joker in 'The Dark Knight (2008). His untimely death cast a somber shadow over the subsequent promotion of the $185 million Batman production. Ledger received more than thirty posthumous accolades for his critically acclaimed performance as the Joker, the psychopathic clown prince of crime, in the film, including the Academy Award for Best Supporting Actor, a Best Actor International Award at the 2008 Australian Film Institute Awards (for which he is the second actor to win an acting award posthumously after Peter Finch who won an Oscar for Network (Best Actor 1977)), the 2008 Los Angeles Film Critics Association Award for Best Supporting Actor, the 2009 Golden Globe Award for Best Supporting Actor - Motion Picture, and the 2009 BAFTA Award for Best Supporting Actor.Ashes are interred in a family plot in Perth, Australia.- Music Artist
- Composer
- Actor
John Winston (later Ono) Lennon was born on October 9, 1940, in Liverpool, England, to Julia Lennon (née Stanley) and Alfred Lennon, a merchant seaman. He was raised by his mother's older sister Mimi Smith. In the mid-1950s, he formed his first band, The Quarrymen (after Quarry Bank High School, which he attended) who, with the addition of Paul McCartney and George Harrison, later became The Beatles.
After some years of performing in Liverpool and Hamburg, Germany, "Beatlemania" erupted in England and Europe in 1963 after the release of their singles "Love Me Do" and "Please Please Me". That same year, John's first wife Cynthia Lennon welcomed their only son Julian Lennon, named after John's mother. The next year the Beatles flew to America to appear on The Ed Sullivan Show (1948) (aka The Ed Sullivan Show), and Beatlemania spread worldwide. Queen Elizabeth II granted all four Beatles M.B.E. medals in 1965, for import revenues from their record sales; John returned his four years later, as part of an antiwar statement. John and the Beatles continued to tour and perform live until 1966, when protests over his calling the Beatles phenomenon "more popular than Jesus" and the frustrations of touring made the band decide to quit the road. They devoted themselves to studio work, recording and releasing albums such as "Sgt. Pepper's Lonely Hearts Club Band", "Magical Mystery Tour" and the "White Album". Instead of appearing live, the band began making their own "pop clips" (an early term for music videos), which were featured on television programs of the time.
In the late 1960s John began performing and making albums with his second wife Yoko Ono, as the Beatles began to break up. Their first two albums, "Two Virgins" and "Life With The Lions", were experimental and flops by Beatles standards, while their "Wedding Album" was almost a vanity work, but their live album "Live Peace In Toronto" became a Top Ten hit, at the end of the 1960s.
In the early 1970s John and Yoko continued to record together, making television appearances and performing at charity concerts. After the release of John's biggest hit, "Imagine", they moved to the US, where John was nearly deported because of his political views (a late-'60s conviction for possession of hashish in the U.K. was the excuse given by the government), but after a four-year legal battle he won the right to stay. In the midst of this, John and Yoko separated for over a year; John lived in Los Angeles with personal assistant May Pang, while Yoko dated guitarist David Spinozza. When John made a guest appearance at Elton John's Thanksgiving 1974 concert, Yoko was in the audience, and surprised John backstage. They reconciled in early 1975, and Yoko soon became pregnant. After the birth of their son Sean Lennon, John settled into the roles of "househusband" and full-time daddy, while Yoko became his business manager; both appeared happy in their new life together.
After a five-year break from music and the public eye, they made a comeback with their album "Double Fantasy", but within weeks of their re-emergence, Lennon was murdered on the evening of December 8, 1980 by Mark David Chapman, a one-time Beatles fan angry and jealous over John's ongoing career, who fatally shot Lennon four times in the back outside his apartment building, The Dakota, as Lennon was returning from a recording session. Within minutes after being shot, John Lennon was dead at age 40. His violent death was a sudden and tragic end to the life of a talented singer and musician who wanted to make a difference in the world.Cremated privately the day after his death. Yoko Ono has never revealed the whereabouts of the ashes, or what happened to them. In lieu of a funeral for John, Yoko asked the public for ten minutes of silence and prayer at 2pm ET on the following Sunday, December 14th, and to contribute to charities in his memory.
Amateur photographer Paul Goresh was the last person to photograph Lennon alive, autographing his "Double Fantasy" album for Mark David Chapman, just hours before Chapman fatally shot Lennon. A press photographer sneaked into the morgue, photographing Lennon's body in state before it was taken to be cremated.Ashes are with family.- Music Artist
- Actor
- Producer
A master musician, a film producer and actor, best known as the lead guitarist and occasionally lead vocalist of The Beatles, George Harrison was born February 25, 1943, in Liverpool, Merseyside, England. He was also the youngest of four children, born to Harold Harrison and Louise Harrison.
Like his future band mates, Harrison was not born into wealth. Louise was largely a stay-at-home mom while her husband Harold drove a school bus for the Liverpool Institute, an acclaimed grammar school that George attended and where he first met a young classmate, Paul McCartney. By his own admission, Harrison was not much of a student and what little interest he did have for his studies washed away with his discovery of the electric guitar and American rock-'n'-roll.
There were a lot of harmonies in the Harrison household. He had a knack of sorts for it by age 12 or 13, while riding a bike around his neighborhood and hearing Elvis Presley's "Heartbreak Hotel", playing from a nearby house. By the age of 14 George--who was a fan of such legends as , Harrison, who grew up in the likes of listening to such rock legends Carl Perkins, Little Richard and Buddy Holly--had purchased his first guitar and taught himself a few chords.
McCartney', who had recently joined up with another Liverpool teenager, John Lennon, in a skiffle group known as The Quarrymen, invited Harrison to see the band perform. Harrison and Lennon had a few things in common, such as the fact that they both attended Dovedale Primary School but didn't know each other. Their paths finally crossed in early 1958. McCartney had been egging the 17-year-old Lennon to allow the 14-year-old Harrison to join the band, but Lennon was reluctant; as legend has it, after seeing McCartney and Lennon perform, George was granted an audition on the upper deck of a bus, where he wowed Lennon with his rendition of popular American rock riffs.
The 17-year-old Harrison's music career was in full swing by 1960. Lennon had renamed the band The Beatles and the young group began cutting its rock teeth in the small clubs and bars around Liverpool and Hamburg, Germany. Within two years, the group had a new drummer, Ringo Starr, and a manager, Brian Epstein, a young record store owner who eventually landed the group a record contract with EMI's Parlophone label.
Before the end of 1962, Harrison and The Beatles recorded a song, "Love Me Do", that landed in the UK Top 20 charts. Early that following year, another hit, "Please Please Me," was released, followed by an album by the same name. "Beatlemania" was in full swing across England, and by early 1964, with the release of their album in the US and an American tour, it had swept across the States as well.
Largely referred to as the "Quiet Beatle" Harrison took a back seat to McCartney, Lennon and, to a certain extent, Starr. Still, he could be quick-witted, even edgy. During the middle of one American tour, the group members were asked how they slept at night with long hair.
From the get-go, Lennon-McCartney were primary lead vocalists. While the two spent most of the time writing their own songs, Harrison had shown an early interest in creating his own work. In the summer of 1963 he spearheaded his first song, "Don't Bother Me," which made its way on to the group's second album. From there on out, Harrison's songs were a staple of all Beatle records. In fact, some of the group's more memorable songs--e.g., "While My Guitar Gently Weeps" and "Something," which was the only Beatle song ever recorded by Frank Sinatra--were penned by Harrison.
However, his influence on the group and pop music in general extended beyond just singles. In 1965, while on the set of The Beatles' second film, Help! (1965), Harrison took an interest in some of the Eastern instruments and their musical arrangements that were being used in the film. He soon developed a deep interest in Indian music. He taught himself the sitar, introducing the instrument to many western ears on Lennon's song, "Norwegian Wood"" He soon cultivated a close relationship with renowned sitar player Ravi Shankar. Other groups, including The Rolling Stones, began incorporating the sitar into some of their work. It could be argued that Harrison's experimentation with different kinds of instrumentation helped pave the way for such ground-breaking Beatle albums as "Revolver" and "Sgt. Pepper's Lonely Hearts Club Band".
Harrison's interest in Indian music soon extended into a yearning to learn more about eastern spiritual practices. In 1968 he led The Beatles on a journey to northern India to study transcendental meditation under Maharishi Mahesh Yogi.
Having grown spiritually and musically since the group first started, Harrison, who wanted to include more of his material on Beatle records, was clearly uneasy with the McCartney-Lennon dominance of the group. During the "Let It Be" recording sessions in 1969, Harrison walked out, staying away for several weeks before he was coaxed to come back with the promise that the band would use more of his songs on its records.
However, tensions in the group were clearly high. Lennon and McCartney had ceased writing together years before, and they, too, were feeling the need to go in a different direction. In January of 1970 the group recorded Harrison's "I Me Mine." It was the last song the four would ever record together. Three months later, McCartney announced he was leaving the band and The Beatles were officially over.
After the breakup of The Beatles, Harrison pursued a solo career. He immediately assembled a studio band consisting of ex-Beatle Starr, guitar legend Eric Clapton, keyboardist Billy Preston and others to record all the songs that had never made it on to The Beatles catalog. The result was a three-disc album, "All Things Must Pass". While one of its signature songs, "My Sweet Lord," was later deemed too similar in style to The Chiffons' 1963 hit "He's So Fine," forcing the guitarist to cough up nearly $600,000, the album as a whole remains Harrison's most acclaimed record.
Not long after the album's release, Harrison combined his charitable work and his continued passion for the east when he put together a series of ground-breaking benefit concerts at New York City's Madison Square Garden to raise money for refugees in Bangladesh. Known as the "Concert for Bangladesh", the shows, which featured Bob Dylan, Leon Russell, and Ravi Shankar, would go on to raise some $15 million for UNICEF, produced a Grammy-winning album, a successful documentary film (The Concert for Bangladesh (1972)) and laid the groundwork for future benefit shows like "Live Aid" and "Farm Aid".
Not everything about post-Beatle life went smoothly for Harrison, though. In 1974, his marriage to Pattie Boyd, whom he'd married eight years before, ended when she left him for Eric Clapton. His studio work struggled, too, from 1973-77, starting with, "Living in the Material World", "Extra Texture," and "33 1/3," all of which failed to meet sales expectations.
Following the release of that last album, Harrison took a short break from music, winding down his own label, Dark Horse Records--which he had started in 1974, and which had released albums by a number of other bands--and started his own film production company, Handmade Films. The company produced the successful Monty Python film Life of Brian (1979) and would go on to make 26 other films before Harrison sold his interest in the company in 1994.
In 1979, he returned to the studio to release his self-titled album. It was followed two years later by, "Somewhere in England," which was still being worked on at the time of John Lennon's assassination in December of 1980. The record eventually included the Lennon tribute track, "All Those Years Ago," a song that reunited ex-Beatles Paul McCartney and Ringo Starr, along with ex-Wings members Denny Laine and Linda McCartney. While the song was a hit, the album, its predecessor and its successor, "Gone Troppo," weren't. For Harrison the lack of commercial appeal and the constant battles with music executives proved draining and prompted another studio hiatus.
A comeback of sorts came in November 1987, however, with the release of the album "Cloud Nine," produced by Jeff Lynne (of Electric Light Orchestra). The album turned out several top-charting hits, including "Got My Mind Set On You"-- remake of the 1962 song by Rudy Clark--and "When We Was Fab," a song that reflected on the life of Beatlemania, with Ringo Starr and Paul McCartney, who was dressed up as a walrus, but was a camera shy, in February 1988. Later that year Harrison formed The Traveling Wilburys. The group consisted of Harrison, Lynne, Roy Orbison, Tom Petty and Bob Dylan, and spawned two successful albums. Buoyed by the group's commercial success, Harrison took to the road with his new bandmates in 1992, embarking on his first international tour in 18 years.
Not long afterwards he was reunited with McCartney and Starr for the creation of an exhaustive three-part release of a Beatles anthology--which featured alternative takes, rare tracks and a John Lennon demo called "Free as a Bird," that the three surviving Beatles completed in the studio. The song went on to become the group's 34th Top 10 single. After that, however, Harrison largely became a homebody, keeping himself busy with gardening and his cars at his expansive and restored home in Henley-on-Thames in south Oxfordshire, England.
Still, the ensuing years were not completely stress-free. In 1997, Harrison, a longtime smoker, was successfully treated for throat cancer. Eighteen months later, his life was again put on the line when a deranged 33-year-old Beatles fan somehow managed to circumvent Harrison's intricate security system and broke into his home, attacking the musician and his wife Olivia with a knife. Harrison was treated for a collapsed lung and minor stab wounds. Olivia suffered several cuts and bruises.
In May 2001, Harrison's cancer returned. There was lung surgery, but doctors soon discovered the cancer had spread to his brain. That autumn, he traveled to the US for treatment and was eventually hospitalized at the UCLA Medical Center in Los Angeles, CA. He died November 29, 2001, at ex-bandmate McCartney's house in Los Angeles, at aged 58, with his wife and son at his side.
Just one year after his death, Harrison's final studio album, "Brainwashed," was released. It was produced by Lynne, Harrison's son Dhani Harrison and Harrison himself, and featured a collection of songs he'd been working at the time of his death. Dhani finished putting the album together and it was released in November of 2002.Harrison was cremated within hours of his death, and his ashes were later scattered along the Ganges River in India, in accordance with his last wishes. Ashes were scattered in India.- Actor
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Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).He was cremated at Oxford Crematorium in Oxford, Oxfordshire, England.- Actor
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Hume Cronyn was a Canadian actor with a lengthy career. He was nominated for an Academy Award for Best Supporting Actor for his performance in "The Seventh Cross" (1944).
Cronyn was born to a prominent family. His father was politician Hume Blake Cronyn (1864-1933), Member of Parliament for London, Ontario (term 1917-1921). The elder Cronyn was a grandson of both Benjamin Cronyn, first bishop of the Anglican Diocese of Huron (1802-1871) and politician William Hume Blake (1809-1870), first Chancellor of Upper Canada.
Cronyn's mother was Frances Amelia Labatt, heiress of the Labatt Brewing Company. Labatt remains the largest brewing company of Canada. Frances' father was businessman John Labatt (1838-1915), and her grandfather was company founder John Kinder Labatt (1803-1866). The Labatts were a prominent Irish-Canadian family, claiming descent from a French Huguenot family which settled in Ireland.
Cronyn was sent to a boarding school in Ottawa, where he studied from 1917 to 1921. The school was at the time called "Rockliffe Preparatory School", but has since been renamed to Elmwood School. Elmwood has become a school for girls. Cronyn attended first Ridley College in St. Catharines, and then McGill University in Montreal.
During his university years, Cronyn was a featherweight boxer. He was nominated for Canada's Olympic Boxing team for the 1932 Summer Olympics in Los Angeles. Cronyn was studying pre-law in the University, but switched his major to acting. He then enrolled at the American Academy of Dramatic Arts, where he studied under theatrical director Max Reinhardt (1873-1943).
Cronyn made his Broadway debut in 1934, in the play "Hipper's Holiday". He had the minor role of a janitor. After a decade as a theatrical actor, Cronyn made his film debut in the psychological thriller "Shadow of a Doubt" (1943). He played crime fiction buff Herbie Hawkins. This was Cronyn's first collaboration with director Alfred Hitchcock. Cronyn later acted in "Lifeboat" (1944), and served as a screenwriter for both "Rope" (1948) and "Under Capricorn" (1949).
Cronyn was nominated for the Academy Award for Best Supporting Actor for his role as Paul Roeder in the concentration camp themed film "The Seventh Cross" (1942). Roeder is a common factory worker in Nazi Germany, who risks his life and family to assist his old friend George Heisler (played by Spencer Tracy) to flee the country. While Cronyn's role was well-received, the award was instead won by rival actor Barry Fitzgerald (1888-1961).
In 1942, Cronyn married actress Jessica Tandy, and for many years they appeared together in theatre, film and television. The duo headlined the radio series "The Marriage" (1953-1954), depicting the difficulties of a professional woman in transitioning to the roles of housewife and mother. The duo also appeared in a television adaptation of the radio series, but it only lasted for 8 episodes.
Cronyn acting career mostly included supporting roles, but he found himself in the spotlight for the role of Joe Finley in the science fiction film "Cocoon". It became a surprise box office hit, and Cronyn was nominated for the Saturn Award for Best Actor. The award was instead won by a much younger actor, Michael J. Fox (1961-).
Cronyn returned to the role of Joe Finley in the sequel "Cocoon: The Return" (1988). While less successful than its predecessor, Cronyn's role was well-received. He was again nominated for the Saturn Award for Best Actor, but again lost to a younger actor. The award was won by Tom Hanks (1956-).
Jessica Tandy died in 1994, and the widowed Cronyn married writer Susan Cooper in 1996. Cronyn had one of his last prominent roles in the film "Marvin's Room" (1996). He played the incapacitated and bed-ridden Marvin Wakefield, who has to be taken care of by his adult daughters. The cast of the film was collectively nominated for a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture.
Cronyn's last film role was the role of con-artist Sam Clausner in the television film "Off Season" (2001). Cronyn died in 2003 from prostate cancer. He was 91-years-old.He was likely cremated and his ashes are with family.- Jeremy Sinden was born on 14 June 1950 in London, England, UK. He was an actor, known for Star Wars: Episode IV - A New Hope (1977), Chariots of Fire (1981) and The Far Pavilions (1984). He was married to Delia Lindsay. He died on 29 May 1996 in London, England, UK.Ashes are under an oak tree at the top of St. Mary the Virgin Churchyard, Chapel Bank, Ebony, Isle of Oxney, Kent, England next to his mother, Lady Sinden. Both trees have inscribed plaques under them.
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Exotic leading man of American films, famed as much for his completely bald head as for his performances, Yul Brynner masked much of his life in mystery and outright lies designed to tease people he considered gullible. It was not until the publication of the books "Yul: The Man Who Would Be King" and "Empire and Odyssey" by his son, Yul "Rock" Brynner, that many of the details of Brynner's early life became clear.
Yul sometimes claimed to be a half-Swiss, half-Japanese named Taidje Khan, born on the island of Sakhalin; in reality, he was the son of Marousia Dimitrievna (Blagovidova), the Russian daughter of a doctor, and Boris Yuliyevich Bryner, an engineer and inventor of Swiss-German and Russian descent. He was born in their home town of Vladivostok on 11 July 1920 and named Yuli after his grandfather, Jules Bryner. When Yuli's father abandoned the family, his mother took him and his sister Vera to Harbin, Manchuria, where they attended a YMCA school. In 1934 Yuli's mother took her children to Paris. Her son was sent to the exclusive Lycée Moncelle, but his attendance was spotty. He dropped out and became a musician, playing guitar in the nightclubs among the Russian gypsies who gave him his first real sense of family. He met luminaries such as Jean Cocteau and became an apprentice at the Theatre des Mathurins. He worked as a trapeze artist with the famed Cirque d'Hiver company.
He traveled to the U.S. in 1941 to study with acting teacher Michael Chekhov and toured the country with Chekhov's theatrical troupe. That same year, he debuted in New York as Fabian in "Twelfth Night" (billed as Youl Bryner). After working in a very early TV series, Mr. Jones and His Neighbors (1944), he played on Broadway in "Lute Song" with Mary Martin, winning awards and mild acclaim. He and his wife, actress Virginia Gilmore, starred in the first TV talk show, Mr. and Mrs. (1948). Brynner then joined CBS as a television director. He made his film debut in Port of New York (1949). Two years later Mary Martin recommended him for the part he would forever be known for: the King in Richard Rodgers' and Oscar Hammerstein II's musical "The King and I". Brynner became an immediate sensation in the role, repeating it for film (The King and I (1956)) and winning the Oscar for Best Actor.
For the next two decades, he maintained a starring film career despite the exotic nature of his persona, performing in a wide range of roles from Egyptian pharaohs to Western gunfighters, almost all with the same shaved head and indefinable accent. In the 1970s he returned to the role that had made him a star, and spent most of the rest of his life touring the world in "The King and I". When he developed lung cancer in the mid 1980s, he left a powerful public service announcement denouncing smoking as the cause, for broadcast after his death. The cancer and its complications, after a long illness, ended his life. Brynner was cremated and his ashes buried in a remote part of France, on the grounds of the Abbey of Saint-Michel de Bois Aubry, a short distance outside the village of Luzé. He remains one of the most fascinating, unusual and beloved stars of his time.Brynner was cremated and his ashes buried in a remote part of France, on the grounds of the Abbey of Saint-Michel de Bois Aubry, a short distance outside the village of Luzé. He remains one of the most fascinating, unusual and beloved stars of his time.- André René Roussimoff was born in a small farming community in Grenoble, France to Boris and Marian Rouismoff. His parents and four siblings were all of normal size, but André suffered from acromegaly, a hormonal disorder that results when the pituitary gland produces excess growth hormone. As the Giant grew up (very quickly, as he reached the height of 6' 3" by the age of 12) he began to often disagree with his parents. He left home at 14 and obtained a job with a furniture-moving firm and began to play rugby. At 17 he was seen training at a gym by several professional wrestlers. Impressed by his size, they taught him some basic wrestling skills and built a friendship with him. Later, when one of the wrestlers was injured, André stepped in for him. He would wrestle for nearly thirty more years. By his early 20s André had wrestled in Algeria, South Africa, Morocco, Tunisia, England, Scotland, and most of non-Communist Europe but had not found fame. In 1971 he came to North America under the name Jean Ferre and was mildly popular in Canada. Then he met a New York based booker by the name of Vincent J. McMahon (often incorrectly referred to as "Vince McMahon Sr") who renamed him "Andre the Giant," and billed him as 7' 4" (Andre was really closer to 7'). Soon Andre the Giant became a national sensation and was a much sought after wrestler. In addition he participated in television, movies, and commercials. With his wealth the Giant bought a ranch in Ellerbe, North Carolina where he would live during his rare time off and after he retired from wrestling in 1990. He died while in France after attending his father's funeral. André was cremated and his ashes were spread across his ranch. He is survived by his one daughter.ith his wealth the Giant bought a ranch in Ellerbe, North Carolina where he would live during his rare time off and after he retired from wrestling in 1990. He died while in France after attending his father's funeral. André was cremated and his ashes were spread across his ranch. He is survived by his one daughter.
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Along with fellow actors Lon Chaney, Bela Lugosi and Vincent Price, Boris Karloff is recognized as one of the true icons of horror cinema, and the actor most closely identified with the general public's image of the Frankenstein Monster from the classic 1818 Mary Shelley novel "Frankenstein; or, The Modern Prometheus". William Henry Pratt was born on November 23, 1887, in Camberwell, London, England, UK, the son of Edward John Pratt Jr., the Deputy Commissioner of Customs Salt and Opium, Northern Division, Indian Salt Revenue Service, and his third wife, Eliza Sarah Millard.
He was educated at London University in anticipation that he would pursue a diplomatic career; however, he emigrated to Canada in 1909, joined a touring company based out of Ontario and adopted the stage name of "Boris Karloff." He toured back and forth across the U.S. for over 10 years in a variety of low budget theater shows and eventually ended up in Hollywood, reportedly with very little money to his name. Needing cash to support himself, Karloff secured occasional acting work in the fledgling silent film industry in such films as The Deadlier Sex (1920), Omar the Tentmaker (1922), Dynamite Dan (1924) and Tarzan and the Golden Lion (1927), in addition to a handful of film serials (the majority of these, sadly, are all lost films). Karloff supplemented his meager film income by working as a truck driver in Los Angeles, which allowed him enough time off to continue to pursue acting roles.
His big break finally came when he was cast as the Frankenstein Monster in the Universal production of Frankenstein (1931), which was directed by James Whale, one of the studio's few remaining auteur directors. The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?". The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. He quickly appeared in several other sinister roles, including Scarface (1932) (filmed before Frankenstein (1931)), as the black-humored The Old Dark House (1932), as the titular Chinese villain of Sax Rohmer's Dr. Fu Manchu novels in The Mask of Fu Manchu (1932), as the living mummy Im-ho-tep in The Mummy (1932) and as the misguided Prof. Morlant in The Ghoul (1933). He thoroughly enjoyed his role as a religious fanatic in John Ford's film The Lost Patrol (1934), although contemporary critics described it as a textbook example of overacting.
He donned the signature make-up, neck bolts and asphalt spreader's boots to play the Frankenstein Monster twice more, the first time in the sensational Bride of Frankenstein (1935) and the second time in the less thrilling Son of Frankenstein (1939). Karloff, on loan to Fox, appeared in one of the best of the Warner Oland Charlie Chan films, Charlie Chan at the Opera (1936), before beginning his own short-lived detective film series as Mr. Wong. He was a wrongly condemned doctor in Devil's Island (1938), the shaven-headed executioner Mord the Merciless in Tower of London (1939), another misguided scientist in The Ape (1940), a crazed scientist surrounded by monsters, vampires and werewolves in House of Frankenstein (1944), a murderous cab-man in The Body Snatcher (1945) and a Greek general fighting vampires in the Val Lewton thriller Isle of the Dead (1945).
While Karloff continued to appear in a plethora of films, many of them were not up to the standards of his previous efforts, including his appearances in two of the hokey Bud Abbott and Lou Costello monster films (he had appeared with both of them in an earlier, superior film, Bud Abbott Lou Costello Meet the Killer Boris Karloff (1949), of which theater owners often added his name to the marquee) at the low point of the Universal-International horror film cycle. During the 1950s he was a regular guest on many high-profile TV shows, including The Milton Berle Show (1948), Tales of Tomorrow (1951), The Veil (1958), The Donald O'Connor Show (1954), The Red Skelton Hour (1951) and The Dinah Shore Chevy Show (1956), just to name a few, and he appeared in a mixed bag of films, including Sabaka (1954) and Voodoo Island (1957). On Broadway, he appeared as the murderous Jonathan Brewster in the hit play "Arsenic and Old Lace" (his role, or rather the absence of him in it, was amusingly parodied in the play's 1944 film version) and 10 years later he enjoyed a long run in another hit play, "Peter Pan," perfectly cast as Captain Hook.
His career experienced something of a revival in the 1960s thanks to hosting the TV anthology series Thriller (1960) and independent film director Roger Corman, with Karloff contributing wonderful performances in The Raven (1963), The Terror (1963), the ultra-eerie Black Sabbath (1963) and the H.P. Lovecraft-inspired Die, Monster, Die! (1965). Karloff's last great film role before his death was as Byron Orlok, an aging and bitter horror film star on the brink of retirement who confronts a modern-day sniper in the Peter Bogdanovich-directed film Targets (1968). After this, he played Professor John Marsh in The Crimson Cult (1968), in which he co-starred with Sir Christopher Lee and Barbara Steele; it was the last film that he starred in that was released in his lifetime. Before these two films, he played the blind sculptor Franz Badulescu in Cauldron of Blood (1968) which was produced, directed and written by Edward Mann, who had also come to the art of film from the stage and the theater; it was released in the U.S. in 1971 after his death. His TV career was topped off by achieving Christmas immortality as both the voices of the titular character and the narrator of Chuck Jones' perennial animated favorite, How the Grinch Stole Christmas! (1966). Four low budget horror films that were made in Mexico and starred an ailing Karloff, whose scenes for all four of them were shot on a soundstage in Hollywood, were released theatrically in Mexico in 1968 and then were released directly to television in the U.S. after his death between 1971 and 1972; however, they do no justice to this great actor. In retrospect, he never took himself too seriously as an actor and had a tendency to downplay his acting accomplishments. Renowned as a refined, kind and warm-hearted gentleman with a sincere affection for both children and their welfare, Karloff passed away on February 2, 1969 from pneumonia. Respectful of his Indian roots and in true Hindu fashion, he was cremated at Guildford Crematorium, Godalming, Surrey, England, UK, where he is commemorated by a plaque in Plot 2 of the Garden of Remembrance.He was cremated at Guildford Crematorium, Godalming, Surrey, England, where he is commemorated by a plaque in Plot 2 of the Garden of Remembrance.- Actor
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Wally Cox was a beloved character actor who made his mark in television and ranks as one of the medium's most memorable performers. His ability to show his range likely was limited by his short stature, slight frame, and high-pitched voice, which along with his talent for being very funny, made him ideal for comedy parts such as his memorable turn as Professor P. Caspar Biddle in "The Bird-Watchers" episode of The Beverly Hillbillies (1962) in 1966. His television persona was that of a shy, timid man in horn-rimed glasses who spoke in a tentative, though distinctly enunciated, voice. It was a persona that his long-time friend Marlon Brando said was completely at odds with the real man.
Born Wallace Maynard Cox on December 6, 1924, in Detroit, Michigan, his family moved to Evanston, Illinois, when he was a child, and he became friends with the young Brando. The child Marlon once tied Wally to a fence as a prank and left him in bondage overnight. After World War II, Cox moved to New York City and studied metal-working, becoming a master craftsman. In New York, he met up again with Brando, and the two rekindled their friendship and became roommates, with Cox eventually moving out as he reportedly could not abide Russell, Marlon's pet raccoon. Brando interested Cox in acting, and he studied with Brando's mentor Stella Adler. Cox and Brando both shared a delight in book-reading and learning, though Cox was the more accomplished intellectual.
After appearing in many TV productions in the 1940s and early '50s, Cox achieved fame as the mild-mannered teacher on the live television sitcom Mister Peepers (1952) (1952-55), a summer replacement show that was inserted into the regular line-up after receiving good reviews and strong ratings. The episode in which Peepers married his girlfriend, the school nurse Nancy, was one of the highest rated TV shows of 1954. Although the role made him a star and won him two Emmy nominations, one as Best Comedian of 1953 and one as Best Male Star of a Regular Series in 1954, Wally Cox hated Robinson Peepers. He always referred to the character as "Mr. Goodboy" and insisted he was nothing like him, that in fact, he was a "terrible person." His persona on the The Hollywood Squares (Daytime) (1965), a quiet man with a thinly veiled layer of sarcasm, probably was more like the real Cox. Outside of performing, Cox liked to ride motorcycles and take long nature walks.
After the show's cancellation due to declining ratings, Cox appeared as the lead in the TV series The Adventures of Hiram Holliday (1956) for the 1956-57 season. Although he never again headlined a live-action series, he played character roles in a score of theatrical and TV movies and frequently guest-starred on series television. He also remained prominent in the public eye as a regular panelist on the television game show The Hollywood Squares (Daytime) (1965), appearing in the upper left-hand cubicle from the series' debut in 1966 until his death in 1973. While many of the stars' responses were actually scripted, Wally Cox apparently wasn't one of them, more often using sarcasm and responding with an ironic attitude as with a witty one-liner.
He was introduced to a generation of children as the voice of the animated cartoon character Underdog on Underdog (1964) (1964-1973). He was also a singer, cutting a memorable record of "There Is a Tavern in the Town" in 1953, sung in a unique style featuring "tremulous yodeling" that was truly one of a kind. Wally also made a memorable appearance on the syndicated show Tom Smothers' Organic Prime Time Space Ride (1971) as a singer/yodeler, singing the cowboy song "That's How the Yodel Was Born."
Cox always will be remembered as the eponymous "Mr. Peepers" and the voice of "Underdog," but he was an actor of wider talents seldom used by the industry, as can be seen in his turns as the sonar operator in The Bedford Incident (1965) and as the potential suicide Wally Haverstraw in The Bill Cosby Show (1969) episode "Goodbye, Cruel World" in 1970. Dying unexpectedly on February 15, 1973, from what some newspapers described as an accidental overdose of sedatives but which Marlon Brando in his autobiography said was a heart attack, Wally Cox's cremated remains were kept hidden in a closet by his old friend for three decades. According to Brando's son Miko, both his father's and Cox's ashes were scattered at the same time in Death Valley, California, in a ceremony following Brando's death, thus reuniting the lifetime friends.Wally Cox's cremated remains were kept hidden in a closet by his old friend for three decades. According to Brando's son Miko, both his father's and Cox's ashes were scattered at the same time in Death Valley, California, in a ceremony following Brando's death, thus reuniting the lifetime friends.- Writer
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Isaac Asimov was born Isaak Judah Ozimov, on January 2, 1920, in Petrovichi shtetl, near Smolensk, Russia. He was the oldest of three children. His father, named Judah Ozimov, and his mother, named Anna Rachel Ozimov (nee Berman), were Orthodox Jews. Ozimov family were millers (the name Ozimov comes from the eponymous sort of wheat in Russian). In 1923 Isaac with his parents immigrated to the USA and settled in Brooklyn, New York. There his parents temporarily changed his birthday to September 7, 1919, in order to send him to school a year earlier. Their family name was changed from Ozimov to Asimov.
Asimov was an avid reader before the age of 5. He spoke Yiddish and English at home with his parents and spoke only a few word in Russian. He began his formal education in 1925 in the New York Public School system. From 1930-1932 he was placed in the rapid advance course. In 1935 he graduated from high school, in 1939 received a B.S. and in 1941 he earned his M. Sc. in Chemistry from Columbia University. From 1942-1945 Asimov was a chemist at the Philadelphia Naval Shipyard's Naval Air experimental station. After the war ended, he was drafted into the U.S. Army and was transfered to the island of Oahu and was destined to participate in the atomic bomb tests at Bikini Atoll in July 1946. He narrowly avoided that by receiving an honorable discharge in May 1946. In 1948 he completed his post-graduate studies and earned his Ph. D. in Chemistry. In 1949 he began his teaching career at the Medical School of Boston University, becoming assistant professor in 1951, and associate professor in 1955. In 1958 Asimov became a full-time writer and gave up his teaching duties because his income from his literary works was much greater than his professor's salary. He was fired, but he retained his title and later returned as a lecturer and was promoted to the rank of full professor in 1979. Asimov was considered one of the best lecturers at Boston University.
Young Isaac Asimov was raised as a non-religious person. His parents observed the Orthodox Judaism, but did not force their belief upon young Asimov. He did not have affiliation with a temple, did not have a bar mizvah and called himself an atheist, then used the term "humanist" in his later life. He did not oppose genuine religious convictions in others but opposed superstitious or unfounded beliefs. Asimov defined his intellectual position as a Humanist and rationalist. He opposed the Vietnam war in the 1960s and was a supporter of the Democratic party. He embraced environmental issues, and supported feminism, joking that he wished women to be free "because I hate it when they charge". He was also humorous about many of his memberships in various clubs and foundations. Asimov did not approve exclusionary societies, he left Mensa after he found that many of the members were arrogant. He liked individuality and stayed in groups where he enjoyed giving speeches. As a free thinker, Asimov saw sci-fi literature serving as a pool where ideas and hypotheses are expressed with unrestricted intellectual freedom.
Young Asimov was fascinated with science fiction magazines which were sold at his parent's general store. Around the age of 11 he wrote eight chapters of a fiction about adventures of young boys in a small town. His first publication was "Marooned Off Vesta" in the Amazing Stories magazine in 1939. Asimov shot to fame in 1941 with 'Nightfall', a story of a planet where night comes once every 2049 years. 'Nightfall' has been described as one of the best science fiction stories ever written. Asimov wrote over five hundred literary works. He is credited for introducing the words "positronic", "psychohistory", and "robotics" into the English language. He penned such classics as "I, Robot" and the "Foundation" series, which are considered to be the most impressive of his writings. He also founded "Isaac Asimov's Science Fiction Magazine", which became a best-selling publication.
Asimov was afraid of needles and the sight of blood. Although he had the highest score on the intelligence test he had the lowest score on the physical-conditioning test. He never learned how to swim or ride a bicycle. The author who described spaceflights suffered from fear of flying. In his entire life he had to fly only twice during his military service. Acrophobia was revealed when he took his date and first love on a roller coaster in 1940, and was terrified. This phobia complicated the logistics and limited the range over which he traveled; it also found reflection in some of his literary works. He avoided traveling long distances. Instead he enjoyed cruise ships like the RMS Queen Elizabeth 2, where he occasionally entertained passengers with his science-themed talks. He impressed public with his highly entertaining speeches as well as with his sharp sense of timing; he never looked at the clock, but he spoke for precisely the time allocated. Asimov's sense of time prevented him from ever being late to a meeting. Once he discovered that his parents changed his date of birth, he insisted that the official records of his birthday be corrected to January 2, 1920, the date he personally celebrated throughout his life.
Asimov met Gertrude Blugherman on a blind date on Valentine's Day in February of 1942, they got married in July of the same year. The Asimovs had two children, son David (born in 1951), and daughter Robyn Joan (born in 1955). Asimov had known Janet Opal Jeppson since 1959. She was a psychoanalyst and also a writer of science fiction for children. Correspondence with her convinced Asimov that she was the right kind of person for him. He and Gertrude were separated in 1970, and he moved in with Janet Jappeson almost at once. His first marriage ended in divorce in 1973. That same year he and Janet Jeppson were married at Janet's home by an official of Ethical Culture Society. Asimov had no children by his second marriage.
In 1983 Asimov contracted HIV infection from a tainted blood transfusion received during a triple bypass surgery. He eventually developed AIDS and wanted to go public about his AIDS but his doctors convinced Asimov to remain silent. The specific cause of death was heart and renal failure as complications of AIDS. He died on April 6, 1992, in Boston, Massachussets, and was cremated. His ashes were scattered.
Ten years after Asimov's death, his widow, Janet Jeppson Asimov, revealed that his death was a consequence of an unfortunately contracted AIDS.He died on April 6, 1992, in Boston, Massachussets, and was cremated. His ashes were scattered.- Actor
- Writer
Born in Franklin, Indiana on December 28, 1923, he was raised in Texas and went to college at Indiana University. There, on a speech and drama scholarship, he began to act and perform however this was interrupted by being called into the service. In World War II where he saw action overseas, he was befriended by actor Melvyn Douglas, who led his division. With such encouragement, as well as meeting and becoming familiar with some Broadway folks, Duggan went into acting. From 1953 onward, he was a fixture in both movies and television.
Most notably, he played General Ed Britt on 12 O'Clock High (1964), he was Cal Calhoun in Bourbon Street Beat (1959) and his most famous role as "Murdoch Lancer" in Lancer (1968) and the original John Walton opposite Patricia Neal in The Homecoming: A Christmas Story (1971). He was "Howitzer Al Houlihan", the father of "Hotlips Houlihan" (Loretta Swit) in M*A*S*H (1972). In 1954, he wed Broadway actress Elizabeth "Betty" Logue. After their deaths, they were cremated and their ashes scattered at Lake Arrowhead, California.Both Andrew Duggan and his wife were cremated, their ashes scattered at Lake Arrowhead, California.- Deryck Guyler, born at the outbreak of WW1 in 1914 at Liverpool in England, was the only child of Elsie and Samuel Guyler. He grew up in Liverpool and had his senior education at Liverpool College. On leaving school he tried his hand at a few things including working with his father in the family jewelers business 'Green & Guyler'. However, he then left home to go to Bristol theological college to become an Anglican Minister, in those days Deryck was not a Catholic. It was not long before it became obvious to the 'powers-that-be' he would make a better actor than a Parson!!!! So, he eventually joined the Liverpool Repertory Company in 1935 which became his training ground for a very successful career in theatre, radio and television.
During the war, however, he was called up to join the RAF Police and served there for a time before being invalided out and then rejoined his profession. As all the theatres had been closed down due to wartime, he was sent out on ENSA (Entertainment National Services Association) to entertain the troops. It was during this time that he met and married his wife Paddy, who was also working on ENSA with her two sisters as a three handed singing harmony act, 'The Lennox Sisters'. They were married on 15th Sep 1941 so, at the time of his death Deryck and Paddy had just celebrated their 58th wedding anniversary. They had two sons, Peter, born 26th April 1943 during the war and Chris, born after the war on 15th June 1948. Soon after their son Peter was born, Deryck converted to the Catholic faith and became an active member of the 'Catholic Stage Guild'. They also had another wedding ceremony, as Paddy was also a Catholic, and son Peter was in the front row of the church.
Just after the war, in 1946, Deryck joined the famous war time radio show ITMA ('It's That Man Again') and was with the show until its finish in 1949, due to the death of its star Tommy Handley. It was during this time that he was renowned for bringing to the radio, for the first time, the Liverpudlian accent with his immortal character "Frisby Dyke". Not long after this television started and Deryck began pursuing his very successful career in this new medium of entertainment. Due to the excellent quality of his voice he started in television, as many did, doing 'voice-overs' for many, many commercials which was his 'bread and butter', but then, he went on to become as well known for his face as he was for his voice in many TV series including Three Live Wires (1961), Room at the Bottom (1966), Best of Enemies (1968) and the well known Sykes (1972) series with Eric Sykes, Hattie Jacques and Richard Wattis. There were many other series that followed, supporting such other stars as Michael Bentine in It's a Square World (1960) and Harry Worth in his own series and then, of course, the TV series he's probably best known for, Please Sir! (1968) as the cantankerous school janitor 'Norman Potter'!!
It was in 1982 that he went out to New Zealand to star in a series written by an English TV scriptwriter Vince Powell called "An Age Apart"; it only went to 'air' in New Zealand. So, after a long successful career lasting over 50 years he then decided to retire 'down under' in Australia to be near his younger son Chris and his family, Deryck's three grandchildren, Paul, Mark and Cathryn. Deryck and his wife Paddy arrived in Brisbane on 5th November 1993, and lived in the tree-lined suburb of Ashgrove until about September of 1997. In October of that year, due to a few unfortunate falls at home attributed to his frailty and ailing legs, he had to go into a nursing home to be cared for, his wife Paddy being too small and frail herself to care for him. Regrettably due to his frailty; he had to be content with a wheelchair to get around. Paddy moved to 'Forest Place' Retirement Village, attached to the nursing home, and naturally, visited him daily. Additionally, the rest of the family often visited him in the nursing home where he was looked after admirably by the nursing home staff at 'Forest Place' until the evening of 7 October 1999 when he passed away very peacefully at about eight o'clock whilst wife Paddy and son Chris, with his wife, were at his bedside to say their final 'Goodbyes'.
His funeral service was held at St. Mark's Catholic Church, Inala on the 13 October 1999 and he was cremated at Mt. Gravatt Cemetery. In 1995 there was a wonderful 10 minute tribute to Deryck, made by Danny Baker and the BBC, which the family used as a part of the eulogy delivered by his son Chris at his funeral service at St. Mark's. Deryck's wife Paddy also passed away on 6 January 2002 and their ashes are now buried side by side in the "Guyler" family 'garden seat' estate in the peaceful surroundings of "Mount Thompson Memorial Gardens" in the Brisbane suburb of Holland Park.Deryck's wife Paddy also passed away on 6 January 2002 and their ashes are now buried side by side in the "Guyler" family 'garden seat' estate in the peaceful surroundings of "Mount Thompson Memorial Gardens" in the Brisbane suburb of Holland Park. - Actor
- Additional Crew
- Director
Del Close was born and raised in Manhattan, Kansas, and attended Kansas State University, after touring with a sideshow act for a period of time in his teenage years. In 1957, at the age of 23, he became a member of the St. Louis branch of "The Compass Players", the direct precursor of "The Second City", which opened in December, 1959. Most of the St. Louis cast went to Chicago, but Close chose New York and a budding career as a hip, young stand-up comic in competition with Lenny Bruce, George Carlin, Bob Newhart, etc. That same year, he also appeared in the off-Broadway musical, "The Nervous Set", of which an original cast album exists. Close came to Chicago in 1960 and, more or less, made it his home for the rest of his life, always gravitating back there after a few months or even years elsewhere. Perhaps he understood instinctively the advice Paul Sills gave Stuart Gordon some years later: "Come to Chicago", they Close directed and performed at "The Second City", until he was fired (major substance abuse problems) in 1965.
He spent the next five years in San Francisco eating acid and touring with the "Merry Pranksters" on their famous psychedelic bus, creating light images for Grateful Dead, and working with The Committee, a North Beach equivalent of "Second City", which Close helped organize. It was at "The Committee" that he first began seriously to develop his ideas and techniques of long-form improvisation, although "Second City" had experimented with long-form as early as 1962. Close returned to Chicago in 1970 and set up a free, open-to-all workshop at the Kingston Mines Company Store, the café attached to the Kingston Mines Theatre Company on Lincoln Avenue (where the parking garage of Children's Memorial Medical Center now stands). He drilled his students -- everyone from acid-dropping love children to a vice-president of the Foote, Cone and Belding advertising agency -- in the basic principals of improv and theatre games, and in the specifics of "The Harold", a long-form improv technique developed by Close. At a time when most improvisation mainly focused on creating single scenes, Del devised "The Harold" as something not unlike a sonata form. Several themes would be established, a community of characters would be introduced, and then the resulting scenes would play off each other in comedic counterpoint -- characters from one environment moving to another and phrases and images recurring, each time accruing new meaning. Going to this from conventional sketches was like going from arithmetic to calculus. (Why was it called "The Harold"? When he introduced it, one of his students said, "Del, you've invented something, you get to name it". Del said, "Well, the Beatles called their haircut "Arthur", so I'll call this Harold". He later regretted the flipness. "Probably my most significant contribution and it's got that stupid name").
The weekly public performances at Kingston Mines sometimes had as many as 20 performers participating. After a few months, Close hand-picked a dozen of his best, and moved operations down the block to the Body Politic for twice-weekly workshops and Sunday night performances. He named the company "The Chicago Extension Improv Company", as an extension of his San Francisco work. The best-known players to emerge from the troupe were "Broadway" Betty Thomas, Dan Ziskie, Brian Hickey and Jonathan Abarbanel.
Before leaving Chicago, again, in 1972 to perform for Paul Sills in a Story Theatre production at the Mark Taper Forum in LA, Close and "The Chicago Extension" had begun to explore scenario improvs based on dreams. The techniques the "Extension" developed after Close left became Dream Theatre, which continued at the Body Politic over the next five years, although with different personnel. Close returned to Chicago in 1973 as resident director at "The Second City", a position he kept until 1982. It was during this decade that he taught and directed a long list of TV and film comedy greats, including John Belushi, Bill Murray, John Candy, Don DePollo, George Wendt, Audrie Neenan, Eugenie Ross-Leming, David Rasche, Shelley Long, Ann Ryerson, etc.
Upon leaving the troupe, Close pursued legitimate acting opportunities with a number of theatres, including Wisdom Bridge, Remains, Goodman and Steppenwolf. He won his Joseph Jefferson Award in 1985 in a radical "Hamlet", directed by Robert Falls at Wisdom Bridge. Close also did TV and film work, appearing in The Untouchables (1987) and Ferris Bueller's Day Off (1986), among others. It was during this period that Close finally beat his long heroin addiction (although he continued to smoke cigarettes and marijuana), in part truly shocked by the excesses and death of John Belushi, and, in part, because, as he told Jonathan Abarbanel, "I've decided I want to live".
Close was enjoying his new theatrical vistas, as well as a successful professional partnership with Charna Halpern and ImprovOlympic, which allowed him to concentrate on further development of "The Harold", and on team improv. Close was 64 when he died of complications due to emphysema the evening of March 4, 1999, just five days shy of his birthday. He left no survivors, although he claimed to have fathered an illegitimate child by a woman in Minneapolis sometime in the late 1950s. Close requested in his will that his skull be given to the Goodman Theatre so that he could play Yorick in the company's next "Hamlet". However, Halpern, his executor, was unable to persuade doctors to remove Close's skull, and it was cremated along with the rest of his body.
Close was one of three titans of improvisational theatre who put it on the map, refined it, and turned it into the fixture of comedic and acting technique which it has become. The first was Viola Spolin, who started the work in the 1930s with her development of theatre games -- originally for children -- as exercises in imagination. She didn't utilize them for public performance. It was her son, Paul Sills, who was able to take theatre games and use them as the basis for development of satirical revue comedy. Sills and a group of brilliant cohorts, including Mike Nichols, Elaine May, Shelley Berman, Sheldon Patinkin and others made this work the focus of various company experiments in the mid-1950s, including the Compass Players in Chicago and St. Louis. In 1959, The Second City opened, co-founded by Sills, Howard Alk and Bernard Sahlins. Close arrived on the scene a year later. Within three years, both Sills and Alk had left the troupe to pursue other ventures. Alk continued to work in the improv field, but died young. Sills has retained improv and theatre games within his artistic repertory -- it is part of the basis of his Story Theatre -- but has not devoted his career to it. Close, then, became the third titan of improvisation after Spolin and Sills, and the only one to devote his artistic life and best theoretical thinking to it. He fully understood pain and suffering as a basis for comedy, as well as the nature and limitations of the comedic form. The Harold, the scenario, long-form improv -- call it what you will -- is his personal legacy to the field; while his own boundless, sometimes manic drive as a charismatic teacher and director have done more to establish improvisational theatre around the world than anything or anyone else. The explosion of improv troupes and teams and classes (the Museum of Contemporary Art offers an improv class, for example), and the inclusion of theatre games and improv exercises in standard acting curricula, are the result of the work of Spolin and Sills and Close. With specific regard to long-form improv and Close's own contribution, that legacy will grow even greater through the next generation, as his students and acolytes inherit the world of comedy.His body was cremated, as he wished. His skull is expected to be given to the Goodman Theatre to await the company's next "Hamlet".- Actor
- Soundtrack
When we hear songs like "Rambino" and " Ciao Ciao Bambino" the name of Georges Guétary cames to one's mind. But also as a producer of " Bless the bride", "Latin Quartier" in London and "Arms and the girl" on Broadway, he added light and charm to show business. The last show to celebrate 50 years of perfomances was staged at the Robino's in Paris. He returns to ashes in an orthodox church at Cannes where he was cremated.He returns to ashes in an orthodox church at Cannes where he was cremated.