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- Originally named Shalom Jaffe, he became known to the world as Sam Jaffe. He was born in New York City, to Heida (Ada) and Barnett Jaffe, who were Russian Jewish immigrants. As a child, he appeared in Yiddish theatre productions with his mother, a prominent regional stage actress. He graduated from the City College of New York and then studied engineering at Columbia University graduate school. He began his career as a mathematics teacher in the Bronx. Around 1915 Jaffe joined the Washington Square Players. By 1918 he was no stranger to Broadway, having debuted in the original play Youth, and he appeared regularly through the 1920s, though less in the 1930s and only sporadically in the 1940s. He appeared in 21 plays on Broadway during his acting career, his final appearance in 1979.
Jaffe was a method actor before it was defined and early on sported his signature shock of curly hair that some people would later misinterpret as part of some Harpo Marx characterization. Jaffe was anything but. His acting talents were considerable, and Hollywood noticed him first for the unusual role of the mad Grand Duke Peter in Josef von Sternberg 's The Scarlet Empress (1934). Frightening in his rendition of Peter, he was dispatched by the always magnificent Marlene Dietrich.
Jaffe was no matinee idol but his homely features were made for unusual character roles. He did not disappoint in providing unforgettable performances. Frank Capra cast him as the mysterious High Lama in Lost Horizon (1937) (as last minute replacement; the actor originally cast had died). It would be another two years before Jaffe was once more called to Hollywood - he was back quite busy on Broadway. He appeared in George Stevens Gunga Din (1939) which sported big star names as well. Stevens gave Jaffe the lead, Gunga Din, native regimental bhisti (Hindi for water-carrier). It was probably Jaffe's most familiar film role. It was a standout part which Jaffe handled with great humanity, and the film was a huge hit.
Jaffe would not appear in another film for eight years. His second of two movies in 1947 was Elia Kazan 's powerful expose of anti-Semitism Gentleman's Agreement (1947) in which Jaffe played an Albert Einstein-like professor. Jaffe would play doctors of one sort or another in the handful of movies for the next few years. Then in 1950 he played a very different doctor - Doc Erwin Riedenschneider, criminal mastermind -- in John Huston's taut The Asphalt Jungle (1950). Jaffe would receive a nomination for a supporting actor Oscar for this effort. Of the three films he did in 1951, Jaffe also appeared in an another Einstein-like role in the Robert Wise sci-fi classic The Day the Earth Stood Still (1951).
Jaffe experienced the destructive anti-communist furor when his name was included on a listing of performers sympathetic to communism in the Red Channels pamphlet and like many, was blacklisted by the big Hollywood studios. He was considered essential by producer Julian Blaustein and Robert Wise to play Professor Jacob Barnhardt, and 20th Century Fox boss Darryl Zanuck (who had resisted much heat for Gentleman's Agreement (1947)) agreed. It was ironic that Einstein, veiled as the character Barnhardt, was a pacifist and being watched by the U.S. government at that time. There was some credence for rumors that Jaffe provided the calculus equations (mainly the gravitational force between bodies) on Barnhardt's blackboard - solved so easily by alien Michael Rennie.
Jaffe didn't appear on-screen for seven years due to the punitive effects of the blacklisting. In 1958, John Huston wanted him for his very original The Barbarian and the Geisha (1958) with John Wayne, and director William Wyler also came forward later to cast him as faithful servant Simonides in the blockbuster Ben-Hur (1959). From then on Jaffe was very busy, especially with episodic TV through the 1960s which included his own recurring role as Dr. Zorba in the very popular Ben Casey (1961) series. Jaffe also appeared with his lifelong best friend, screen icon Edward G. Robinson in the made-for-TV film The Old Man Who Cried Wolf (1970) . Jaffe remained active into the year of his passing, a thoroughly engaging and unique actor and human being who never pushed his views on anyone. - Actor
- Producer
- Writer
British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father's death cost him the financial support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines--he was gassed--he was invalided out of service scarcely two months after shipping out for France. Upon his recovery he tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre, and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment he was cast in a Broadway hit, "La Tendresse". Director Henry King spotted him in the show and cast him as Lillian Gish's leading man in The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. The coming of sound made his extraordinarily beautiful speaking voice even more important to the film industry. He played sophisticated, thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to "The Halls of Ivy", a radio show that later was transferred to television The Halls of Ivy (1954). He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet Benita Colman.- Actor
- Soundtrack
American character actor of gruff voice and appearance who was a fixture in Hollywood pictures from the earliest days of the talkies. The fifth of seven children, he was born in the first minute of 1891. He was a boisterous child, and at nine was tried and acquitted for attempted murder in the shooting of a motorman who had run over his dog. He worked as a lumberjack and investment promoter, and briefly ran his own pest extermination business. In his late teens, he gave up the business and traveled aimlessly about country. In San Francisco, an attempt to romance a burlesque actress resulted in an offer to join her show as a performer. He spent the next dozen years touring the country in road companies, then made a smash hit on Broadway in "Outside Looking In". Cecil B. DeMille saw Bickford on the stage and offered him the lead in Dynamite (1929). Contracted to MGM, Bickford fought constantly with studio head Louis B. Mayer and was for a time blacklisted among the studios. He spent several years working in independent films as a freelancer, then was offered a contract at Twentieth Century Fox. Before the contract could take effect, however, Bickford was mauled by a lion while filming 'East of Java (1935)'. He recovered, but lost the Fox contract and his leading man status due to the extensive scarring of his neck and also to increasing age. He continued as a character actor, establishing himself as a character star in films like The Song of Bernadette (1943), for which he received the first of three Oscar nominations. Burly and brusque, he played heavies and father figures with equal skill. He continued to act in generally prestigious films up until his death in 1967.- Actor
- Soundtrack
Joe E. Brown happily claimed that he was the only youngster in show business who ran away from home to join the circus with the blessings of his parents. In 1902, the ten-year-old Brown joined a circus tumbling act called the Five Marvellous Ashtons that toured various circuses and vaudeville theaters. Joe later began adding comedy bits into his vaudeville act and added more as it became popular. In 1920 he debuted on Broadway in an all-star review called "Jim Jam Jems". As he developed skits and comedy routines throughout the 1920s, he built up his confidence and his popularity soared. The same could not be said for his debut in movies. Hired for a non-comedy role in The Circus Kid (1928), he played a lion tamer whose fate is death. He didn't register with the public until he signed with Warner Brothers in 1929 to do comedy roles in the film adaptations of Broadway shows such as Sally (1929) and Top Speed (1930). Joe would be well known for his loud yell, his infectious grin and his cavernous mouth. Since many of his films revolved around sports, his natural athletic ability, combined with the physical comedy, made them hits. In Local Boy Makes Good (1931), Joe played a botanist who becomes a track star. As he had briefly played semi-pro baseball, he was a natural for films like Fireman, Save My Child! (1932), in which he played a pitcher who was also a fireman. Two of his biggest hits also involved the game of baseball, Elmer, the Great (1933) and Alibi Ike (1935). In his contract with Warners, he had it written that he would have his own baseball team at the studio to play when he was able. Joe was one of the top ten moneymaking stars for 1933 and 1936. In 1937, he left Warners to make films for David L. Loew, and it was a disaster. Most of the films were cheaply made with poor production values, and only a few were successful. Two of the better ones were Riding on Air (1937) and The Gladiator (1938). Brown always called signing with Loew his biggest professional mistake, and with Loew his popularity fell. By the end of the 1930s he was working in "B" material, which would have been unimaginable less than five years earlier. With the advent of World War II, Joe worked tirelessly to entertain the troops while his film career floundered. Their enthusiastic response enabled Joe to overcome the death of his son, Captain Donald Brown, on a training flight. In 1947 Joe was back in the biz and back on stage in a road company tour of the comedy "Harvey". His first movie role in three years was as a small-town minister in the drama The Tender Years (1948). Even though he gave a good performance, it would be another three years before he was again on the big screen, in the big-budget 1951 remake of Show Boat (1951), in which he played Cap'n Andy Hawks. When his film career became almost nonexistent, Joe worked on radio and in television. He starred as the clown in the drama The Buick Circus Hour (1952) from 1952 to 1953 and made guest appearances on a number of other shows in the 1950s and early 1960s. His peers regarded him as one of the few truly nice people in Hollywood. After a few small movie roles in the 1950s, he was discovered by a new generation as the millionaire Osgood Fielding III in Billy Wilder's classic Some Like It Hot (1959), uttering the immortal last line of the film, "Well, nobody's perfect."- Actress
- Soundtrack
Mae Busch can certainly claim career versatility, having successfully played Erich von Stroheim's mistress, Lon Chaney's girlfriend, Charley Chase's sister, James Finlayson's ex-wife and Oliver Hardy's wife! She was born in Melbourne, Australia, in 1891; her parents were in the theater and when she was six years old the family moved to the US, arriving in San Francisco in 1897 before moving to New York. It is claimed Mae was placed in St. Elizabeth's Convent in New Jersey until at least the age of 12, when she joined her parents in vaudeville as part of the Busch Devere Trio (New York press articles confirm Mae as being part of the group in early 1908). Her big break came in March 1912 when she replaced Lillian Lorraine in the lead role in the Broadweay play "Over the River", with Eddie Foy. She continued in this role until the end of the season, when she joined one of Jesse L. Lasky's touring "girl" shows, where she stayed until signed by Mack Sennett for his Keystone Pictures in 1915. As she was performing on Broadway at the same time as "The Agitator" was filming in California, the claim that this was her first film is incorrect. Similarly, there is no evidence that she knew Mabel Normand prior to arriving in Los Angeles in 1915.
In Hollywood things didn't begin so well for Mae. In order to get work, she falsely claimed to have lived in Tahiti and to be able to swim and dive. A high dive she took while filming The Water Nymph (1912) resulted in an injury and her returning to her parents in New York. It was only then when working in the theater again that she developed into leading-lady status.
Mae returned to Hollywood, and Keystone, in 1915. However, her friendship with Mabel ended abruptly when she was "caught" with Sennett, Mabel's fiancé, and Mae was forced to leave Keystone. Over the years she had substantial roles in quite a few films, such as von Stroheim's The Devil's Passkey (1920) and Foolish Wives (1922). Although 1927 was the year of her first movie with Stan Laurel and Hardy, it wasn't until Unaccustomed As We Are (1929) that she first played Mrs. Hardy, the role that she will always be remembered for. She was Mrs. Hardy again in Their First Mistake (1932), Sons of the Desert (1933), and The Bohemian Girl (1936). She also appeared in other Laurel and Hardy pictures but not as Mrs. Hardy, such as Charlie Hall's wife in Them Thar Hills (1934), and she only flirted with Hardy in Tit for Tat (1935).
Mae's Hollywood career lasted 30 years; she worked with many of the leading directors, actors and actresses of the time. After a long illness she died in 1946, aged 54. She was cremated and her ashes remained in a cardboard box at the Motion Picture Country Home Hospital for over 20 years until a proper interment and plaque was provided.- Actor
- Writer
- Soundtrack
Gene Lockhart was born on July 18, 1891, in London, Ontario, Canada, the son of John Coates Lockhart and Ellen Mary (Delany) Lockhart. His father had studied singing and young Gene displayed an early interest in drama and music. Shortly after the 7-year-old danced a Highland fling in a concert given by the 48th Highlanders' Regimental Band, his father joined the band as a Scottish tenor. The Lockhart family accompanied the band to England. While his father toured, Gene studied at the Brompton Oratory School in London. When they returned to Canada, Gene began singing in concert, often on the same program with Beatrice Lillie. His mother encouraged his career, urging him to try for a part on Broadway. Lockhart went to America. At 25, he got a part in a New York play in September, 1917, as Gustave in Klaw and Erlanger's musical "The Riviera Girl." Between acting engagements, he wrote for the stage. His first production was "The Pierrot Players" for which he wrote both book and lyrics and played. It toured Canada in 1919 and introduced "The World Is Waiting for the Sunrise" (words by Lockhart, music by Ernest Seitz), which became a very popular ballad.. "Heigh-Ho" (1920) followed, a musical fantasy with score by Deems Taylor and book and lyrics by Lockhart. It had a short run (again, with him in the cast). Lockhart's first real break as a dramatic actor came in the supporting role of Bud, a mountaineer moonshiner, in Lula Vollmer's Sun Up (1939). This was an American folk play, first presented by The Players, a theatrical club, in a Greenwich Village little theater in 1923. After great notices it moved to a larger house for a two-year run. During this engagement, in 1924 at the age of 33, Lockhart married Kathleen Lockhart (aka Kathleen Arthur), an English actress and musician. Gene meanwhile also appeared in a series of performances presented by The Players in New York theaters: as Gregoire in "The Little Father of the Wilderness"; as Waitwell in "The Way of the World," as Gumption Cute in "Uncle Tom's Cabin", and as Faust in "Mephisto." The Lockharts' daughter, June Lockhart, was born in 1925. She would eventually appear regularly in the television series Lassie (1954) and Lost in Space (1965). In 1933, Gene and Kathleen were featured in "Sunday Night at Nine," a radio program presented at New York's Barbizon-Plaza Hotel. Meanwhile, Lockhart was keeping busy writing articles for theatrical magazines and a weekly column for a Canadian publication, coaching members of New York's Junior League in dramatics, lecturing on dramatic technique at the Julliard School of Music, and directing a revival of "The Warrior's Husband"--a formidable schedule. It amused him as he said that, "in spite of [the amount of work in a typical day] I don't get thin." Lockhart had by this time taken on the appearance that audiences would see again and again in films--short and plump with a chubby, jowly face and twinkling blue eyes. In 1933, he played Uncle Sid in the Theatre Guild's production of Eugene O'Neill's comedy "Ah, Wilderness!" co-starring George M. Cohan. This was the role that was to bring Lockhart stardom and lead to a contract with RKO Pictures and his first film, By Your Leave (1934). O'Neill wrote to Lockhart: "Every time your Sid has come in for dinner I've wanted to burst into song, and every time you've come down from that nap I've felt the cold gray ghost of an old heebie-jeebie." The acclaim for his acting in "Ah, Wilderness!" allowed Lockhart to proceed to Hollywood and remain there almost without interruption. However, he was back on Broadway in December, 1949, when he took over the part of Willy Loman in the New York production of "Death of a Salesman." Lockhart appeared in over 125 films. Though he often played upright doctors, judges and businessmen, and was in real life described as an amiable and gentle soul, Lockhart is perhaps best remembered on film as a villain who usually ends up cowering in a corner whimpering pitifully before getting his just desserts, a scene he played to the hilt in such movies as Algiers (1938) (for which he was nominated for an Oscar), Blackmail (1939), Geronimo (1939), Northern Pursuit (1943), and Hangmen Also Die! (1943). Late on Saturday, March 30, 1957, Lockhart suffered a heart attack while sleeping in his apartment at 10439 Ashton Avenue in West Los Angeles. He was taken to St. John's Hospital and died on Sunday afternoon, March 31. He is buried in Holy Cross Cemetery.- Actress
- Soundtrack
Fanny Brice was a popular and influential American comedienne, singer, theatre and film actress, who made many stage, radio and film appearances but is best remembered as the creator and star of the top-rated radio comedy series, The Baby Snooks Show. Thirteen years after her death, she was portrayed on the Broadway stage by Barbra Streisand in Funny Girl. The show was made into a musical film in 1968. Born Fania Borach, in New York City, she was the third child of Rose (Stern) and Charles Borach, relatively well-off saloon owners of Hungarian Jewish descent. In 1908, she dropped out of school to work in a burlesque revue, and two years later she began her association with Florenz Ziegfeld, headlining his Ziegfeld Follies from 1910 into the 1930s. In the 1921 Follies, she was featured singing "My Man" which became both a big hit and her signature song. She made a popular recording of it for Victor Records. The second song most associated with her is "Second Hand Rose". She recorded nearly two dozen record sides for Victor and also cut several for Columbia. She is a posthumous recipient of a Grammy Hall of Fame Award for her 1921 recording of "My Man". Her films include My Man (1928), Be Yourself! (1930) and Everybody Sing (1938) with Judy Garland. Brice, Ray Bolger and Harriet Hoctor were the only original Ziegfeld performers to portray themselves in The Great Ziegfeld (1936) and Ziegfeld Follies (1946). For her contribution to the motion picture industry, she has a star on the Hollywood Walk of Fame at MP 6415 Hollywood Boulevard.- Actor
- Writer
- Director
Sometime in the early 1930s, Denny was between scenes on a movie set when he met a neighborhood boy who was trying to fly a bulky gas-powered model plane. When he tried to help by making an adjustment on the machine, Denny succeeded only in wrecking it. But this launched his infatuation with model aviation, and his new hobby grew into Reginald Denny Industries, maker of model plane kits.
When the U.S. Army began hunting for a better and safer way to train anti-aircraft gunners than using targets towed by piloted planes, Denny and his associates Walter Righter and Paul Whittier began work on a radio-controlled target drone, and their third prototype won them an Army contract. Radioplane was formed in 1940, and during WWII produced nearly 15,000 target drones (the RP-5A) for the Army. Radioplane was later purchased by Northrop in 1952.- Stanley Andrews was born on 28 August 1891 in Chicago, Illinois, USA. He was an actor, known for Road to Rio (1947), Superman and the Mole-Men (1951) and Johnny Apollo (1940). He died on 23 June 1969 in Los Angeles, California, USA.
- In 1906, Madge went to New York City to study at the Art Students League where she hoped to become an illustrator. This lasted until she appeared in a student musical, which led to a full time job in a traveling stock company. By 1912, Madge was a Broadway Star with the bedroom farce "Little Miss Brown". For the next five years, Madge continued to find success on Broadway appearing in similar roles. Within 3 months of the formation of Goldwyn Pictures, Sam Goldwyn had signed Madge Kennedy to a big movie contract. Goldwyn was at his best when it came to publicity. It was Goldwyn himself who gave Madge the title of "winsome", and Madge was as winsome and sweet as her light comedies suggested. Some of her films were 'Baby Mine (1917)', 'Our Little Wife (1918)', The Kingdom of Youth (1918)' and 'Dollars and Sense (1920)'. While at Goldwyn, Madge shared a dressing room with actress Mabel Normand. After 21 films, Madge left Goldwyn Pictures and appeared in a handful of films produced by her husband, Harold Bolster. These films included 'The Purple Highway (1923)' and 'Bad Company (1925)'. After that, Madge retired from the screen and returned to the stage. After a few years and her remarriage, Madge retired from acting altogether. In 1952, Madge was coaxed out of retirement by George Cukor for the small role of Judge Carroll in 'The Marrying Kind (1952)'. With that, she started another career as Character Actress appearing in films like 'Lust for Life (1956)', 'The Catered Affair (1956)', 'North by Northwest (1959)' and 'The Day of the Locust (1975)'. On the small screen, Madge played the part of Aunt Martha on "Leave It to Beaver (1957)".
- James Bell was born on 1 December 1891 in Suffolk, Virginia, USA. He was an actor, known for I Walked with a Zombie (1943), The Spiral Staircase (1946) and Blind Spot (1947). He was married to Joyce Arling. He died on 26 October 1973 in Kents Store, Virginia, USA.
- Francis J. McDonald - not a name to bring ready recognition-but a look at the face reminds one of many old movie roles indeed. His career as an actor literally spanned from early silent films and the great silver screen era of sound film to follow on through the golden age of television. His screen credits, noticeable and small, amount to an amazing nearly 350 roles. Starting on stage, he was a slight but handsome leading man who entered films in 1913 and continued lead and featured romantic roles from contemporary to costume adventure into the 1920s. It was during this period that he married - and divorced - actress Mae Busch, most familiar for the many Laurel and Hardy comedies she did. MacDonald worked on Broadway briefly in only two plays (mid-1918). By the time he did his first totally sound film (late silent movies had intervals of background or short dialog sound), Burning Up (1930), MacDonald had 83 films under his belt. But into the 1930s, being older, his roles were turning toward shady characters of second order - and increasingly uncredited. With dark hair and mustache and beady eyes with a prominent nose, MacDonald fit well into many an ethnic or sneaky villain role and continued in demand. He got to know Cecil B. DeMille and had a regular featured character role in his long history of films beginning with The Plainsman (1936).
Still through the 1930s and 40s MacDonald averaged a steady five to ten films a year-dipping somewhat in the World War II years. Into the 1950s he was increasingly cast in one of his perennial staples, westerns, with roles already familiar to him: weaselly, tin horn gamblers, henchmen, but also dignified Indian chiefs. He was a natural to move into the incredibly popular western phenomenon that burst over the new medium of TV. He showed up in the spectrum of episodic oaters: from early Range Rider, Kit Carson, Wild Bill Hickok, and The Lone Ranger to later fare, such as, Have Gun-Will Travel, Wanted Dead or Alive, Wagon Train, the whole stable of Warner Bros. westerns at the end of the decade (Maverick, etc.), and The Virginian in the next. In the meanwhile there were some good character pieces in movies. Perhaps the most poignant being his last for DeMille's, The Ten Commandments (1956), where he had the small but showcase role as Simon, the old Jewish slave. Bedraggled and working in the clay pit - with Charlton Heston - he pleads for freedom for the Israelites - and gets a a trowel in the gut from a Egyptian guard for his trouble - dying heroically in Heston's arms - it is classic DeMille. And it was classic MacDonald - always ready to give a skillful and memorable performance. - Actor
- Writer
- Producer
Frank Fay was born on 17 November 1891 in San Francisco, California, USA. He was an actor and writer, known for God's Gift to Women (1931), Nothing Sacred (1937) and The Matrimonial Bed (1930). He was married to Barbara Stanwyck, Frances White, Betty Kean and Gladys Buchanan. He died on 25 September 1961 in Santa Monica, California, USA.- Actress
Stately Isabel Jeans was brought to Hollywood by the director Anatole Litvak to appear as Fermonde Dupond in his comedy Tovarich (1937). The daughter of an art critic, Frederick George Jeans, she had aspired to be a singer but instead forged a career on the stage. Her first role came courtesy of theatre legend Herbert Beerbohm Tree when she was fifteen years old. Isabel went on to acquire a varied repertoire in the classics, as well as displaying a singular comic talent in contemporary works by Noël Coward, Ivor Novello, and others. By the late 1920s, she had become a fixture on the London stage, toured the United States, appeared with great success on Broadway and acted in two early films by Alfred Hitchcock: Downhill (1927) and Easy Virtue (1927). She had been married, thrice separated and eventually divorced from actor Claude Rains, having seemingly relished the role of the philandering wife. Her husband for a subsequently longer haul was to be a prominent English barrister.
In stark contrast to Isabel's usually dignified appearance, her declared favorite pastimes were: playing a mean hand of poker, driving fast cars and going to the race track. On the other hand, there was this aura of maturity and elegance which made her one of the first actresses film producers would turn to when casting dignified socialites or upper class toffs. Hitchcock, for one, gave her another such role, as Mrs. Newsham, in Suspicion (1941). According to her ex Claude Rains, Isabel became a somewhat "mannered actress". Following an absence from the screen for almost ten years, she came once again into her own in delicious character parts, shining as Aunt Alicia in Gigi (1958) and in the satirical Peter Sellers comedy Heavens Above! (1963), as the land-owning Lady Despard.- American character actor of gruff demeanor who played in dozens of films through the Thirties and Forties. A native of New Jersey, he was a wagon driver for his father's laundry business before joining a vaudeville company. He played in stock and touring companies, then was cast in the Walter Huston production of 'Desire Under the Elms' on Broadway. While working on the New York stage, he made a few appearances in films shot on Long Island. In 1935 he came to Hollywood and appeared with great frequency in supporting roles over the next decade and a half. In the early 1950s, he was blacklisted for his political beliefs during the Communist witch-hunts, and returned to the stage almost exclusively thereafter. In 1976, he gained perhaps his greatest fame, as the title character's libidinous grandfather on the Mary Hartman, Mary Hartman (1976) TV series. But three years later, he was beaten to death by robbers burgling his apartment.
- Actor
- Producer
- Director
Buck Jones was one of the greatest of the "B" western stars. Although born in Indiana, Jones reportedly (but disputedly) grew up on a ranch near Red Rock in Indian Territory (now Oklahoma), and there learned the riding and shooting skills that would stand him in good stead as a hero of Westerns. He joined the army as a teenager and served on US-Mexican border before seeing service in the Moro uprising in the Philippines. Though wounded, he recuperated and re-enlisted, hoping to become a pilot. He was not accepted for pilot training and left the army in 1913. He took a menial job with the Miller Brothers 101 Ranch Wild West Show and soon became champion bronco buster for the show. He moved on to the Julia Allen Show, but with the beginning of the First World War, Jones took work training horses for the Allied armies. After the war, he and his wife, Odelle Osborne, whom he had met in the Miller Brothers show, toured with the Ringling Brothers circus, then settled in Hollywood, where Jones got work in a number of Westerns starring Tom Mix and Franklyn Farnum. Producer William Fox put Jones under contract and promoted him as a new Western star. He used the name Charles Jones at first, then Charles "Buck" Jones, before settling on his permanent stage name. He quickly climbed to the upper ranks of Western stardom, playing a more dignified, less gaudy hero than Mix, if not as austere as William S. Hart. With his famed horse Silver, Jones was one of the most successful and popular actors in the genre, and at one point he was receiving more fan mail than any actor in the world. Months after America's entry into World War II, Jones participated in a war-bond-selling tour. On November 28, 1942, he was a guest of some local citizens in Boston at the famed Coconut Grove nightclub. Fire broke out and nearly 500 people died in one of the worst fire disasters on record. Jones was horribly burned and died two days later before his wife Dell could arrive to comfort him. Although legend has it that he died returning to the blaze to rescue others (a story probably originated by producer Trem Carr for whatever reason), the actual evidence indicates that he was trapped with all the others and succumbed as most did, trying to escape. He remains, however, a hero to thousands who followed his film adventures.- Actor
- Soundtrack
Harry Cording was born on 26 April 1891 in Wellington, Somerset, England, UK. He was an actor, known for The Adventures of Robin Hood (1938), Narcotic (1933) and Gypsy Wildcat (1944). He was married to Margaret Fiero. He died on 1 September 1954 in Sun Valley, California, USA.- Josephine Joseph was born in Austria of Polish-Austrian descent in 1913, whose body was allegedly split down the middle, one side male and the other female. She/he claimed to be a true intersex, or "hermaphrodite,' but there is no evidence to confirm whether this was the case or not. Hermaphrodites generally share the genitals of both sexes, but are not "divided," as circus performers would lead the general public to believe. This was known as a "gaffed" or fake presentation. Most likely, she/he was just a skilled male-female impersonator. One side of the body would be exercised, with shaved body hair and a suntan; the other side would be pale and flabby due to lack of exercise, and the pectoral muscle would resemble a woman's breast. The performer would then wear a split costume, a Tarzan-style loincloth on the "male" side, and a low-cut, tight-fitting blouse on the "female" side. In the majority of cases, half-and-half performers were men, so Josephine Joseph was most likely a male impersonator, with the feminine side being dominant.
At the age of 19, Josephine Joseph is best remembered for an appearance in the Tod Browning classic Freaks (1932). Although she/he only had two lines, she/he still appeared in a number of scenes, most notably at the wedding reception where she/he begins the chant, "We accept her, one of us! We accept her, one of us!" Another has her/him giving an alluring look to the circus strongman, Hercules, to which Roscoe Ates stammers, "I think she-he she-he likes you...but he dodo-don't!"
As of this posting, there is no other information on the life of Josephine Joseph. - Actor
- Director
- Writer
In the early days of silent pictures, Marshall Neilan was a top director for Goldwyn Pictures. He had also directed a small number of Louis B. Mayer's independently produced melodramas, but there was a mutual dislike between the two men. During the festivities inaugurating the merger of Metro and Goldwyn Pictures on April 26, 1924, Neilan grew disgusted at the prospect of listening to Mayer's speech and interrupted everything by ordering his cast and crew back to the set of Tess of the D'Urbervilles (1924). Mayer later viewed the picture and ordered the downbeat ending re-shot over Neilan's loud protests. Mayer, wanting to instill his absolute authority over all production matters, held firm. The prospect of working for Mayer in the new Metro-Goldwyn super-studio was unbearable and Neilan quit. His was the first outright desertion from the studio that others over the next three decades would aspire to be a part of.- Director
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- Actor
George Marshall was a versatile American director who came to Hollywood to visit his mother and "have a bit of fun". Expelled from Chicago University in 1912, he was an unsettled young man, drifting from job to job, variously employed as a mechanic, newspaper reporter and lumberjack with a logging outfit in Washington state. Trying his luck in the emerging film industry, he got his start at Universal and was put to work as an extra. His powerful, six-foot frame served him well for doing stunt work in westerns, earning him a dollar every time he fell off a horse.
He was first glimpsed on-screen in a bit as a laundry delivery man in Roscoe 'Fatty' Arbuckle's The Waiters' Ball (1916). The acting gig wasn't to his taste, though, and, within a year he moved on to writing and directing. The majority of his early assignments were two-reel westerns and adventure serials, starring the popular Ruth Roland. A jack-of-all-trades, he was later prone to remark that in those days he often needed to double as cameraman and editor, too, often cutting his film with a pair of scissors and splicing it with cement. In the 1920's, Marshall worked with cowboy star Tom Mix and then became a comedy specialist for Mack Sennett, turning out as many as 60 one- or two-reelers per year. At Fox, he served as supervising director on all of the studio's comedic output between 1925 and 1930.
At the beginning of the sound era Marshall joined Hal Roach and directed comedies with Thelma Todd (Strictly Unreliable (1932)) and two of Stan Laurel and Oliver Hardy's best shorts: Their First Mistake (1932) and Towed in a Hole (1932)). Always adept at visual comedy, Marshall directed (and also turned up to good effect in a cameo as a hard-boiled army cop in) Pack Up Your Troubles (1932). Economic conditions forced a downsizing at Roach, and Marshall returned to Fox in 1934, staying there for four years, then worked at Universal (1939-40) and Paramount (1942-50, and 1952-54). One of his biggest critical and financial successes was the classic western Destry Rides Again (1939), which re-invigorated the career of Marlene Dietrich and became Universal's top box-office hit for the year. He controlled the antics of W.C. Fields in You Can't Cheat an Honest Man (1939); helped Betty Hutton on her way to stardom with the biopics Incendiary Blonde (1945) and The Perils of Pauline (1947); and directed Alan Ladd in the film noir classic The Blue Dahlia (1946). There was also a fruitful association with Bob Hope, beginning with The Ghost Breakers (1940).
Freelancing over the next two decades, Marshall turned out three superior vehicles for Glenn Ford: a western (The Sheepman (1958)) and two comedies (The Gazebo (1959) and Advance to the Rear (1964)). He was one of three directors (the other two were John Ford and Henry Hathaway) assigned individual segments of the blockbuster How the West Was Won (1962). Towards the end of his long career he helmed several episodes of the Daniel Boone (1964) and Here's Lucy (1968) TV series.
With at least 185 directing credits to his name (there may have been as many as 400, given his prolific output of shorts during the 1910's), George Marshall retired from making films in 1972 and died three years later at the age of 83. He has a star on the Walk of Fame on Hollywood Boulevard.- Charles Thompson was born in Philadelphia, Pennsylvania, USA. He was an actor, known for The Andy Griffith Show (1960), The Twilight Zone (1959), Peyton Place (1964), Gunsmoke (1955), My Three Sons (1960), and Hot Rods to Hell (1966). He died on October 26, 1979 in Los Angeles, California, USA. Probably best known as Asa Breeney / Asa Bascomb on The Andy Griffith Show (1960).
- Actor
- Soundtrack
Suave, well-mannered, silvery-haired character actor Henry (Joseph) O'Neill played top supports in hundreds of films, often as a benign, wise, sensible father, judge, doctor, minister, general, executive or lawyer. Much of his patrician career was split between two studios: Warner Bros in the 1930s and MGM in the 1940s.
O'Neill was born in Orange, New Jersey on August 10, 1891, and dropped out of college to join a traveling theatre troupe. World War I military service intervened but he quickly returned to acting in 1919 upon his discharge and joined, at different times, the Provincetown Players and the Celtic Players acting companies. Making his Broadway debut at age 30 with "The Spring," he continued on Broadway for over a decade in such plays as Mr. Faust (as the Holy One) 22, "The Hairy Ape" (1922), "The Ancient Mariner" (1924), "The Fountain" (1925), "The Squall" (1926), "Jarnegan" (1928), "The Last Mile" (1930), "Old Man Murphy" (1931), "I Loved You Wednesday (1932) and, his last, "Shooting Star" (1933). His prematurely gray hair lent an air of pride and confidence in his many distinctive stage roles, particularly the works of playwright Eugene O'Neill.
In 1933, O'Neill made a solid, unerring switch to feature films and settled in for the duration of his career as a minor character. Although he was typically cast in agreeable roles, he certainly had it in him to be an urbane villain when the call came in. Films on both sides of the fence included his debut, the romantic drama I Loved a Woman (1933) starring Kay Francis and Edward G. Robinson, as well as many others, the more popular being. -- Fog Over Frisco (1934), Madame Du Barry (1934), The Man Who Reclaimed His Head (1934), Oil for the Lamps of China (1935), The Story of Louis Pasteur (1936), Anthony Adverse (1936), The Great O'Malley (1937), The Life of Emile Zola (1937), The Amazing Dr. Clitterhouse (1938), Brother Rat (1938), Dodge City (1939), Juarez (1939), Confessions of a Nazi Spy (1939), Four Wives (1939), Dr. Ehrlich's Magic Bullet (1940), Billy the Kid (1941), Shadow of the Thin Man (1941), Two Girls and a Sailor (1944), Anchors Aweigh (1945), The Beginning or the End (1947) and Alias Nick Beal (1949)
In the 1950's due to failing health, Henry spaced out his feature work with sporadic filming in such movies as The People Against O'Hara (1951), Scarlet Angel (1952), The Wings of Eagles (1957) and, his last, an uncredited bit in Alfred Hitchcock's North by Northwest (1959). A one-time member of the board of directors of the Screen Actors Guild, he later earned a star on the Hollywood Walk of Fame.
He died on May 18, 1961, and was survived by his longtime wife (since 1924) Anna and one child, Patricia He was interred at San Fernando Mission Cemetery in Mission Hills, California.- Actor
- Additional Crew
Chief Yowlachie was born in Kitsap County, Washington, and later lived with his family on the Yakima Indian Reservation. Although he was not enrolled in the Yakima Nation, his parents John W. Simmons and Lucy Riddle both had Puyallup heritage and owned allotted land on the Yakima reservation. Yowlatchie's real name was Daniel Simmons and he began his show-business career as--believe it or not--an opera singer and spent many years in that profession. In the 1920s he switched to films, and over the next 25 or so years played everything from rampaging Apache chiefs to comic-relief sidekicks. A large, round-faced man, his distinctive voice--a deep, resonant bass somewhat resembling Bluto's in the old "Popeye" cartoons--was instantly recognizable, and he had the distinction of not appearing to have aged much over his career, which is most likely attributable to the fact that he looked quite a bit younger than he actually was, so his "aging" wasn't all that noticeable. In addition to his "serious" roles, he had somewhat more light-hearted parts in several films, notably Red River (1948), where he traded quips with veteran scene-stealer Walter Brennan, and held his own quite well.- Music Department
- Composer
- Writer
Cole Porter was born June 9, 1891, at Peru, Indiana, the son of pharmacist Samuel Fenwick Porter and Kate Cole. Cole was raised on a 750-acre fruit ranch. Kate Cole married Samuel Porter in 1884 and had two children, Louis and Rachel, who both died in infancy. Porter's grandfather, J.G. Cole, was a multi-millionaire who made his fortune in the coal and western timber business. His mother introduced him to the violin and the piano. Cole started riding horses at age six and began to studying piano at eight at Indiana's Marion Conservatory. By age ten, he had begun to compose songs, and his first song was entitled "Song of the Birds".
He attended Worcester Academy in Worcester, Massachusetts, in 1905, an elite private school from which he graduated in 1909 as class valedictorian. That summer he toured Europe as a graduation present from his grandfather. That fall, he entered Yale University and lived in a single room at Garland's Lodging House at 242 York Street in New Haven, CT, and became a member of the Freshman Glee Club. In 1910, he published his first song, "Bridget McGuire". While at Yale, he wrote football fight songs including the "Yale Bulldog Song" and "Bingo Eli Yale," which was introduced at a Yale dining hall dinner concert. Classmates include poet Archibald Macleish, Bill Crocker of San Francisco banking family and actor Monty Woolley. Dean Acheson, later to be U.S. Secretary of State, lived in the same dorm with Porter and was a good friend of Porter. In his senior year he was president of the University Glee club and a football cheerleader.
Porter graduated from Yale in 1913 with a BA degree. He attended Harvard Law school from 1913 to 1914 and the Harvard School of Music from 1915 to 1916. In 1917 he went to France and distributed foodstuffs to war-ravaged villages. In April 1918 he joined the 32nd Field Artillery Regiment and worked with the Bureau of the Military Attache of the US. During this time he met the woman who would become his wife, Linda Lee Thomas, a wealthy Kentucky divorcée, at a breakfast reception at the Ritz Hotel in Paris. He did not, as is often rumored, join the French Foreign Legion at this time, nor receive a commission in the French army and see combat as an officer.
In 1919 he rented an apartment in Paris, enrolled in a school specializing in music composition and studied with Vincent D'indy. On December 18, 1919, married Linda Lee Thomas, honeymooning in the south of France. This was a "professional" marriage, as Cole was, in fact, gay. Linda had been previously married to a newspaper publisher and was described as a beautiful woman who was one of the most celebrated hostesses in Europe. The Porters made their home on the Rue Monsieur in Paris, where their parties were renowned as long and brilliant. They hired the Monte Carlo Ballet for one of their affairs; once, on a whim, they transported all of their guests to the French Riviera.
In 1923 they moved to Venice, Italy, where they lived in the Rezzonico Palace, the former home of poets Elizabeth Barrett Browning and Robert Browning. They built an extravagant floating night club that would accommodate up to 100 guests. They conducted elaborate games including treasure hunts through the canals and arranged spectacular balls.
Porter's first play on Broadway featured a former ballet dancer, actor Clifton Webb. He collaborated with E. Ray Goetz, the brother-in-law of Irving Berlin, on several Broadway plays, as Goetz was an established producer and lyricist.
His ballad "Love For Sale" was introduced on December 8, 1930, in a revue that starred Jimmy Durante and was introduced by Kathryn Crawford. Walter Winchell, the newspaper columnist and radio personality, promoted the song, which was later banned by many radio stations because of its content. In 1934, his hit "Anything Goes" appeared on Broadway. During the show's hectic rehearsal Porter once asked the stage doorman what he thought the show should be called. The doorman responded that nothing seemed to go right, with so many things being taken out and then put back in, that "Anything Goes" might be a good title. Porter liked it, and kept it. In 1936, while preparing for "Red, Hot and Blue" with Bob Hope and Jimmy Durante, Ethel Merman was hired to do stenographic work to help Porter in rewriting scripts of the show. He later said she was the best stenographers he ever had.
Porter wrote such classic songs as "Let's Do It" in 1928, "You Do Something To Me" in 1929, "Love For Sale" in 1930, "What Is This Thing Called Love?" in 1929, "Night and Day" in 1932, "I Get A Kick Out Of You" in 1934, "Begin the Beguine" in 1935, "My Heart Belongs to Daddy" in 1938, "Don't Fence Me In" in 1944, "I Love Paris" in 1953, "I've Got You Under My Skin", In the Still of The Night", "You'd Be So Nice To Come Home To", "True Love", "Just One Of Those Things", "Anything Goes", "From This Moment On", "You're The Top", "Easy to Love" and many, many more.
On October 24, 1937, taking a break from a re-write of what would be his weakest musical, "You Never Know", visiting as a guest at a countess' home, Piping Rock Club in Locust Valley, New York, he was badly injured in a fall while horseback-riding. Both of his legs were smashed and he suffered a nerve injury. He was hospitalized for two years, confined to a wheelchair for five years and endured over 30 operations to save his legs over the next 20 years. During his recuperation he wrote a number of Broadway musicals.
On August 3, 1952, his beloved mother died of a cerebral hemorrhage. His wife, Linda, died of cancer on May 20, 1954. On April 3, 1958, he sustained his 33rd operation, and still suffering from chronic pain, his right leg was amputated. He refused to wear an artificial limb and lived as a virtual recluse in his apartment at the Waldorf-Astoria in New York City. He sought refuge in alcohol, sleep, self-pity and sank into despair. He even refused to attend a "Salute to Cole Porter" at the Metropolitan Opera on May 15, 1960, and the commencement exercises at Yale University in June of 1960 when he was conferred with an Honorary Doctorate of Humane Letters, or his 70th birthday party arranged by his friends at the Orpheum Theater in New York City in June 1962.
After what appeared to be a successful kidney stone operation at St. John's hospital in Santa Monica, California, he died very unexpectedly on October 15, 1964. His funeral instructions were that he have no funeral or memorial service and he was buried adjacent to his mother and wife in Peru, Indiana.- Actor
- Writer
- Soundtrack
On stage since age 15, Roscoe Karns parlayed his machine-gun delivery and street-wise demeanor (although many thought of him as a New Yorker, he was actually from San Bernardino, California) into character roles in dozens of films from the 1920s to the 1960s. His peak period, though, was in the 1930s, where he often played a wisecracking cab driver or a brash newspaper reporter (as in His Girl Friday (1940), usually the friend of the hero who helps him solve the murder/catch the bad guys/find the missing heiress, etc.- Actor
- Writer
- Producer
Born in Scotland, Jack Buchanan made his stage acting debut in Britain in 1912, and on Broadway in 1924. Though he made his film debut in 1917 during the silent film era, Buchanan is probably best remembered for The Band Wagon (1953), co-starring with Fred Astaire, Cyd Charisse, Nanette Fabray, James Mitchell, Oscar Levant and Robert Gist.
Suffering from spinal arthritis, Buchanan died in London four years later.- Producer
- Additional Crew
New Jersey-born Eddie Mannix was a long-time studio executive at MGM. Known as "The Fixer", he had a reputation as someone who could take care of any problems caused by recalcitrant or wayward studio employees and major stars that might embarrass the company. Mannix had a rather unsavory past, and it was known that he associated with many organized-crime figures while he was in the New York/New Jersey area. Authorities on both coasts suspected that he was more than just an "associate"; when East Coast organized-crime figures tried to take over the unions representing film studio workers in Hollywood--so they could extort money from the studios in exchange for avoiding "labor trouble"--Mannix was suspected of helping to pave the way for them. In addition, he was accused of having killed his first wife in a phony car accident and was suspected of being involved in the death of MGM executive Paul Bern, husband of MGM star Jean Harlow. Years later, some speculated that he or his wife, Toni Mannix, might have murdered actor George Reeves, star of the hit TV series Adventures of Superman (1952) (Reeves had been engaged in a long-time affair with Toni, although with Mannix's blessing). While no credible evidence has ever surfaced to support such a theory, much evidence credibly undermines it.
Mannix was never charged in any of the above cases, and died in Beverly Hills in 1963.- Actor
- Director
- Writer
The son of writer-theater producer-director-actor Hal Reid, Wallace was on stage by the age of four in the act with his parents. He spent most of his early years, not on the stage, but in private schools where he excelled in music and athletics. In 1910, his father went to the Chicago studio of "Selig Polyscope Company" and Wallace decided that he wanted to be a cameraman. However, with his athletic good looks, he was often put in front of the camera instead of behind - a situation that he disliked. His first film before the camera was The Phoenix (1910), where he played the role of the young reporter. Wallace preferred to be a cameraman, a writer, a director - anything but an actor. He took his fathers play "The Confession" to Vitagraph where he wanted to write and direct the film. Wallace ended up also acting in it. Starting with bit parts in various films, Wallace was eventually cast as the leading man to Florence Turner in numerous films. Wallace next moved on to "Reliance" where he acted, but also wrote screenplays. His next big move was to Hollywood, where he was hired by Universal director Otis Turner, as assistant director, second cameraman, gopher and scenario writer. It was what he was looking for, but he ended up back in front of the camera. At 20, Reid was an unknown assistant director. In 1913, Wallace married Dorothy Davenport, one of the stars that he both directed and starred with. Although only 17, Dorothy had spent a number of years on the stage before heading to the silver screen. The roles that Wallace played were getting bigger and bigger, but after appearing in over 100 films, he took a salary cut and a small part to work with D.W. Griffith on his milestone film The Birth of a Nation (1915). It was after this film that Jesse L. Lasky signed Wallace to a contract with "Famous Players" and he became a big star, but his dreams of directing and writing ended. An alcoholic for years, this situation worsened. His first film for "Famous Players" was The Chorus Lady (1915). Wallace went on to star in a series of pictures in which he represented all that was best of the ideal American. He had parts in over 60 more pictures including Intolerance (1916) and The Squaw Man's Son (1917). But it was the daredevil auto movies that he was most popular at. Flashing cars, dangerous roads and sometimes a race with a speeding locomotive thrilled and scared the public. His auto pictures included The Roaring Road (1919), Excuse My Dust (1920) and Double Speed (1920). When the U.S. entered World War I, Wallace was 25, six foot one and a crack shot. Even though he wanted to enlist, pressure was exerted on him not to. He was the rock on which "Famous Players" was built and his loss would have materially effect the company. He had a newborn son and was the sole support for his wife, his son, his mother, her mother, his father and also had to consider his status as a matinée idol.
He did volunteer his time to selling Liberty bonds and often opened his house to veterans. His films were financial successes, but in his personal life, he spent money like water. Wallace was a star who was worked continuously by the studio but disaster struck on a film site in Oregon. While making the film The Valley of the Giants (1919), Wallace was involved in a train crash and his injuries prevented him from finishing the film. Unwilling to stop the film, the studio sent the company doctor up to Oregon with a supply of morphine so that he would continue working and not feel the pain of his injury. After the picture was finished, he was needed to begin another so the studio kept supplying Wallace with morphine and he became hooked. Coupled with the alcohol, Wallace never had a chance and by 1922, he started entering a succession of hospitals and sanitariums as his health faded. Making his last film for the studio, Thirty Days (1922), Wallace was barely able to stand, let alone act. He died at the sanitarium, in Dorothy's arms, on the 18th day of January 1923 at the age of only 31. Wallace was the third major Paramount personality to be involved in scandal in 1922.- Canadian-born character actor Jonathan Hale had a long and distinguished film career, appearing in over 260 pictures and television programs.
He was a member of the diplomatic service prior to his film career, and his stately bearing stood him in good stead for the large variety of corporate executives, military officers and high-level politicians he often played.
His best known and most memorable role was that of Dagwood Bumstead's boss, J.C. Dithers, in the "Blondie" film series, a role he assayed from the first entry (Blondie (1938)) until he left the series in 1946 having appeared in 16 of the 28 "Blondie" films.
In 1966, despondent over health and personal problems, he shot himself to death. - Actress
- Soundtrack
Born Irene Luther on October 13, 1891, silent-screen femme Irene Rich came from a once well-to-do family in Buffalo, New York. Her father had a reversal of fortune while she was quite young and the family subsequently had to move to California. Following her education, Irene pursued a career as a realtor. She had already married twice by the time she decided to become an actress and, by the "ripe old age" of 27, had begun working as a movie extra.
Success came quickly for Irene and her first part of real substance was in The Girl in His House (1918). She continued on as a poised, resourceful co-star and became a particular favorite of Will Rogers, who used her in Water, Water, Everywhere (1920), The Strange Boarder (1920), Jes' Call Me Jim (1920), Boys Will Be Boys (1921) and The Ropin' Fool (1922). Her array of leading men ran the gamut -- from Harry Carey in Desperate Trails (1921) to Lon Chaney in The Trap (1922) to John Barrymore in Beau Brummel (1924) to movie mutt Strongheart the Dog in Brawn of the North (1922).
Irene's true screen persona, however, arrived in the form of tearjerkers, nobly portraying the ever-suffering, well-coiffed "doormat" in her own plush, domestic dramas. Somewhat reminiscent in both looks, style and demeanor of Irene Dunne, she became a favorite in women's pictures throughout the 1920s, one of her best known roles being in Lady Windermere's Fan (1925).
With age Irene moved into more motherly roles, and by the coming of sound she was playing Will Rogers' pushy wife in a few of his social comedies, including So This Is London (1930) and Down to Earth (1932). At around the same time Irene enjoyed a spectacular new career on radio. In 1933 she began her nationwide anthology program entitled "Dear John" (also called "The Irene Rich Show"), which lasted over a decade. Her leading man on that show for many of those years was Gale Gordon, who later played Lucille Ball's apoplectic boss and nemesis on 1960s TV.
Irene also enjoyed some success on stage in such productions as "Seven Keys to Baldpate" (1935), which starred George M. Cohan. Eventually she left it all, marrying a fourth time to businessman George Henry Clifford in 1950, and settling in comfortable retirement. She died at age 96 quietly of heart failure and was survived by two daughters, one of whom, Frances Rich, was an actress briefly on the 1930s stage and screen before becoming a noted sculptor.- Actor
- Director
- Producer
Irving Pichel was born on 24 June 1891 in Pittsburgh, Pennsylvania, USA. He was an actor and director, known for Destination Moon (1950), Dracula's Daughter (1936) and Tomorrow Is Forever (1946). He was married to Violette Wilson. He died on 13 July 1954 in Hollywood, California, USA.- Writer
- Director
- Actor
London-born Edmund Goulding was an actor/playwright/director on the London stage, and entered the British army when WWI broke out. Mustered out of the service because of wounds suffered in battle, he emigrated to the U.S. in 1921. He obtained assignments as a screenwriter in Hollywood, wrote a novel, "Fury," in 1922 and directed the film version of it (Fury (1923)). Hired as a screenwriter/director by MGM in 1925, Goulding quickly developed a reputation for turning out tasteful, cultured dramas and drawing-room comedies. His films typified the elegance and refinement with which MGM was identified, the best example of this being Grand Hotel (1932). He was entrusted with the pictures of some of MGM's biggest stars, such as Greta Garbo and Joan Crawford. However, one of his best-known films, and probably the one most atypical of his work, was Nightmare Alley (1947), a dark, brooding drama of greed and corruption among high and low society involving phony mentalists and a conniving psychiatrist.- Actress
- Writer
- Soundtrack
Helen Broderick was a deliciously funny character comedienne with vaudeville and stage experience, a close friend of Jeanne Eagels. The story goes that, at the age of 14, she ran away from home because her mother (who featured in operatic comedy) was totally obsessed by the theatre. Ironically, all the people she met turned out to be performers, and Helen (who needed to make a living, after all) ended up where she hadn't wanted to be -- on the stage.
Helen started out as a chorus girl in the first Ziegfeld Follies in 1907. Her talent for comedy was discovered quite by accident. In 1911, she was understudy to the actress Ina Claire in the Broadway play 'Jumping Jupiter'. One night, Claire was unable to perform and Helen Broderick stood in as the romantic lead. She soon had the audience in stitches, trampling about the stage like an elephant, rolling her big saucer eyes and attempting to croon 'Cuddle Near Me All Day Long' in her rather unique voice. The romance was no more and instead turned into a popular farce with Helen now permanently installed in the lead role. For a while, Helen partnered her husband Lester Crawford in vaudeville. In the 1920's, she enjoyed success on Broadway, most notably in 'Fifty Million Frenchmen' (a role she took to Hollywood in 1931). Her best parts in the movies were as the perennial friend or chaperone of the heroine (the type of role subsequently associated with Eve Arden), delivering acidic wisecracks in her inimitable dead-pan manner. On several occasions, Helen co-starred with Victor Moore, one of her previous acting partners on Broadway. However, these efforts were decidedly bottom-of-the-bill. She reserved her amusing best enlivening some of RKO's prestige musicals, especially Top Hat (1935) and Swing Time (1936) with Fred Astaire and Ginger Rogers. Another good part came her way in The Rage of Paris (1938) (with Danielle Darrieux). Helen retired from films in 1946 and died thirteen years later at Beverly Hills Doctor's Hospital at the age of 68.- Michael Chekhov was a Russian actor in the Moscow Art Theatre who emigrated to America and made a career in Hollywood, earning himself an Oscar nomination.
He was born Mikhail Aleksandrovich Chekhov in St. Petersburg, Russia in 1891. His mother, Natalya Golden, was Jewish, and his father, Aleksandr Chekhov, was a brother of writer Anton Chekhov. Anton wrote of his four-year-old nephew in 1895, "I believe that he has a growing talent." From 1907-11 he studied classic drama and comedy at Suvorin Theater School in St. Petersburg, graduating with honors as actor. In St. Petersburg he met Konstantin Stanislavski who invited him to join the Moscow Art Theater. The two became good friends and partners in propelling the Moscow Art Theater to international fame. Later Stanislavsky wrote that Michael Chekhov was a genius.
His film career began in 1913 with a role in 'Tryokhsotletie tsarstvovaniya doma Romanovykh (1913)' (aka Tercentenary of the Romanov Dynasty), followed by a few more roles in Russian silent films. It was during the Russian Revolution of 1917 that his beloved first wife, Olga Tschechowa, divorced him. He was devastated and suffered from depression and alcoholism for the rest of his life.
Between 1922 and 1928 he led the second Moscow Art Theater, earning himself a reputation as teacher, actor and director who brought innovations experimenting with symbolism and acmeist poetry. Chekhov updated the Stanislavsky's acting method, by blending it with yoga, theosophy, psychology and physiology, and adding his own ideas of transformation of actor's consciousness through psychological gesture and movement techniques for entering a special state of subconscious creativity. His idea of using an actor's own intuition and creative imagination was a departure from the original method of his teacher, Stanislavsky.
Chekhov ignored the communist regime and was attacked by the Soviets for joining the Anthroposophic Society. In 1928 he was fired from the Moscow Art Theatre and eventually left Russia. In Europe, he taught his acting method and also made a big success in German films, co-starring with his ex-wife Olga Tschechowa, who was then living in Germany with her second husband. In 1931 he founded the Chekhov Theatre, with support from Rachmaninov, Bohner and Morgenstern, and in 1935 he brought the Chekhov Theatre on tour to New York. He taught acting in France, Austria, Latvia, Lithuania, and in England before WWII. In 1938 he moved to the United States, where he started his own school, and also successfully directed Dostoyevsky's "Demons" on Broadway. Then he was introduced to Hollywood by Sergei Rachmaninoff.
In 1945 Chekhov played his best known film role, psychiatrist Brulov in Spellbound (1945). He received an Academy Award nomination for the role and became a member of the American Film Academy in 1946. At that time, he taught his acting method in Hollywood. In 1953 he published a book about his method, "To The Actor", with preface written by Yul Brynner. His students included Gregory Peck, Marilyn Monroe, Gary Cooper, Ingrid Bergman, Anthony Quinn, Jack Palance, Feodor Chaliapin Jr., Elia Kazan, Clint Eastwood, Yul Brynner and many other Hollywood actors and directors.
At the end of his life Chekhov reunited with his daughter Ada Tschechowa in California. He died in 1955 in Beverly Hills, and was laid to rest in the Forest Lawn Cemetery in Los Angeles. - Actor
- Soundtrack
Four years after appearing with Gene Autry on a national radio show in 1932 he went to Hollywood. By that time he Max was a skilled vaudevillian (magician, juggler, whistler, impressionist, card tricks). His specialty was ventriloquism. On the Orpheum Circuit his dummy was named Skully Null; he became Elmer Sneezeweed in the movies. His debut was in Ride, Ranger, Ride (1936) in 1936, the same year he took over the part of Lullaby in the "Three Mesquiteer" series. He played the part in 21 films, leaving in 1939. After that he did 24 "Range Buster" pictures, co-starred in Ken Maynard's last picture and co-starred eight times with Johnny Mack Brown. He played a doctor in Giant (1956). After leaving movies he continued to appear in television shows such as Ramar of the Jungle (1952). He died in Cottonwood, AZ.- Actress
- Casting Director
- Costume and Wardrobe Department
Miriam Cooper was born to Julian Cooper and Margaret Stewart in Baltimore, Maryland, in 1891. The family was Roman Catholic, and the Coopers were fairly well-to-do. After the birth of five children in five years (one of whom died in infancy), Julian Cooper deserted his family and fled to Europe. Margaret Cooper raised Miriam and her siblings Nelson, Gordon and Lenore with financial assistance from her mother-in-law. After grandmother Cooper died, the family lived in abject poverty and was forced to move from Washington Heights to Little Italy. At one point, Miriam spent time in an orphanage when her mother was too sick to take care of her. Miriam was educated at St. Walburga's Academy, a convent school, and at Coopers Union Art School. Before stumbling into the nascent motion picture industry, she was a model for artists Harrison Fisher and Charles Dana Gibson. Her first film role was as an extra in D.W. Griffith's A Blot on the 'Scutcheon (1912). She next traveled to Florida where she played the ingénue in nearly 30 films for Kalem studios. Most of the films were Civil War dramas and romances, and Miriam did all of her own stunts, including horseback riding, running along the tops of trains and swimming a horse across a river, only to be fired in 1913 for asking for a raise.
In 1914 Griffith rediscovered a screen test she made for him and brought her into his circle. Miriam had leading roles in both The Birth of a Nation (1915) and Intolerance (1916). She also fell in love with one of Griffith's assistant directors, Raoul Walsh. Knowing that Griffith would not like the idea of their getting married, Miriam and Walsh were secretly married on the Hopi Indian Reservation in Arizona in 1916. Walsh eventually left Griffith for Fox Films. When Miriam joined him, their marriage became public. Miriam lost interest in her film career after their marriage, but Walsh preferred to direct her, and she made quite a few movies for him at Fox, the most popular of which was probably Evangeline (1919).
Miriam wanted to be a wife and mother, but the couple was unable to have children, so they adopted two boys. Eventually Miriam tired of Walsh's philandering and divorced him in 1925. She never remarried, and although she felt some bitterness and resentment, it was obvious that she continued to love and admire him after the divorce. Miriam made her last film in 1923. She was tired of Hollywood and the film industry, and once she left it, she never looked back. The money she had saved was adequate for her to live very well. She became a golfing enthusiast and hit holes-in-one in three different states. In the 1960s she was rather surprised to be rediscovered by film historians and college students, but she enjoyed their attention. She completed her autobiography "Dark Lady of the Silents" in 1973, before dying of a stroke in 1976.- Actor
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Life companion was the actress Hansi Burg. Their relationship started in 1925. They separated in 1935 due to the pressure of the German Nazi government. In 1938 she went into exile in Switzerland (later London). Shortly after this she married the Norwegian Erich Blydt. Burg returned to Germany and Albers in 1946. They lived together until his death 1960. She died 15 years later.- Actor
- Director
- Writer
Diminutive Australian-born silent comic, the son of an engine driver. Clyde Cook earned his sobriquet, 'The Kangaroo Boy', because of his rubber-limbed elasticity. He had been on stage from the age of six, trained as an acrobatic dancer and performed on the Tivoli circuit in his native country, and, later, with the Folies Bergere in Paris. He was back in Australia with J.C. Williamson in 1916, appearing in musical comedy and revues. Three years later, he made his American debut in the Ziegfeld Follies on Broadway and then became the star comic at the New York Hippodrome. Noted for his abilities as a contortionist, he was billed as the Australian "Inja Rubber Idiot". Within a year, he was spotted by Fox talent scouts and signed to appear in the 'Sunshine Comedy' series.
After moving to California, Clyde developed his own unique screen image, which included a huge paintbrush moustache (a prototype of which he had sported since 1917) and a completely deadpan expression. Not as distinctive in his comic style as Charles Chaplin or Buster Keaton, he never quite made the first rank as a star, though he was immensely popular as a key supporting player in two-reel comedies. In 1925, he joined Hal Roach, where he did some of his best work, which included the Stan Laurel-directed Wandering Papas (1926). In this, he played the cook for a railroad construction crew, with Oliver Hardy as a tough foreman. In the late 20's, Cook appeared in Roach's 'Taxi Boys' series and, with Warner Brothers, as comic relief in several features, often opposite Louise Fazenda.
His Australian accent proved popular enough to facilitate a smooth transition to talking pictures. This allowed Clyde to continue his career, albeit mainly in dramatic feature films, such as The Docks of New York (1928), The Taming of the Shrew (1929) and The Dawn Patrol (1930). He even got to play an Australian in The Man from Down Under (1943), but, by then, his parts had become little more than walk-ons and bits. He retired after his one-day effort in the John Wayne starrer Donovan's Reef (1963), and died twenty-one years later, in 1984, of arteriosclerosis.- Ann Shoemaker was born on 10 January 1891 in Brooklyn, New York, USA. She was an actress, known for Alice Adams (1935), Sunrise at Campobello (1960) and My Favorite Wife (1940). She was married to Henry Stephenson and Louis Leon Hall. She died on 18 September 1978 in Los Angeles, California, USA.
- Sidney Howard was born on 26 June 1891 in Oakland, California, USA. He was a writer, known for Gone with the Wind (1939), Dodsworth (1936) and Arrowsmith (1931). He was married to Leopoldine Blaine Damrosch and Clare Eames. He died on 23 August 1939 in Tyringham, Massachusetts, USA.
- William H. O'Brien was born on 19 July 1891 in Peak Hill, New South Wales, Australia. He was an actor, known for I've Been Around (1935), Once a Gentleman (1930) and The Sky Raiders (1931). He died on 18 April 1981 in Los Angeles, California, USA.
- Writer
- Actress
- Script and Continuity Department
Lela Rogers, the mother of movie legend Ginger Rogers, was notable and accomplished in her own right. She was born Lela Emogene Owens in Council Bluffs, Pottawattamie, Iowa. Her parents were Walter Winfield Owens, a carpenter, and Sophronia W. (Ball), a widow who worked as a grocery store clerk. As a raconteur at Hollywood parties later in life, Lela Rogers described the circumstances of her birth on Christmas Day, when Ball went into labor as she fended off a bear in the family barn.
Rogers, who had three younger sisters, and her parents led peripatetic lives until settling at Kansas City, Mo. Rogers attended public school through eighth grade, then went to business school to become a stenographer. On her birthday in 1909, she married electrical engineer William Eddins McMath. She moved to nearby Independence in 1911 to become a newspaper reporter, and her illustrious daughter, Virginia, was born there that year.
After divorcing McMath, Rogers moved to Hollywood by 1916 to write scripts under the name Lela Leibrand. When World War I began, she was one of the first 10 women to enlist in the Marine Corps. She handled publicity duties. She wed John Rogers in 1920 in Kansas City. From 1938 to 1945, Lela Rogers worked as an assistant to Charles Kerner, vice president in charge of production at RKO studios. Rogers was put in charge of the studio's new talent. In 1942, she played Ginger's mother in the classic comedy, The Major and the Minor (1942), about a woman's adventures trying to get home to Iowa from New York.
Rogers was a founding member of the Motion Picture Alliance for the Preservation of American Ideals. She testified before the House Un-American Activities Committee in 1947. A devout Christian Scientist, she died in Los Angeles in 1977.- Actor
- Writer
American character actor, a fixture both in Westerns and in the comedies of Preston Sturges. Although frequently billed as "Alan" Bridge, he was born Alfred Morton Bridge in Philadelphia, Pennsylvania in 1891 (not as "Alford" Bridge in 1890, as his tombstone erroneously states), he and his sister, future actress Loie Bridge, were raised by their mother Loie and her second husband, butcher Wilmer Shinn. Following service as a corporal in the U.S. Army infantry in the first World War, Bridge joined a theatrical troupe which also included several of his relatives. The 1920 census showed him on tour in Kansas City, Missouri. He dabbled in writing and in 1930 sold a script to a short film, Her Hired Husband (1930). He followed this with a B-Western script, God's Country and the Man (1931), in which he made his film debut as an actor. For the next quarter century, he managed the atypical achievement of maintaining a career in both B-Westerns and in bigger dramatic and comedy features. Ten films for director Preston Sturges represent probably his most familiar contribution to Hollywood history. Bridge also appeared frequently on television until his death in 1957 at 66.- Harry Cheshire was born on 16 August 1891 in Emporia, Kansas, USA. He was an actor, known for Impact (1949), The First Traveling Saleslady (1956) and Dangerous Mission (1954). He died on 16 June 1968 in Orange County, California, USA.
- Producer
- Additional Crew
- Production Manager
He was crude, uneducated, foul and, even on his best behavior, abrasive. No major studio executive of the so-called "Golden Age" was more loathed (although at times the dictatorial Samuel Goldwyn and the hard-nosed Jack L. Warner came close) than Harry Cohn.
Born in the middle of 5 children to Joseph Cohn, a Jewish tailor, and Bella, a Polish émigré, Harry was raised on New York's rough lower-class East 88th St., where he followed his older brother Jack Cohn into show business. Harry's life and the origins of Columbia Pictures are closely associated with Jack, whose early career paved the way for Harry's own ambitions, despite the fact that the two brothers fought bitterly and each harbored deep resentment over the other's success. By 19 Jack had left a job with an advertising agency to work for Carl Laemmle's newly formed Independent Motion Picture Company (IMP), rapidly working his way from entry-level job in the processing lab and through various positions where he founded Universal Weekly, one of the first newsreel outfits, for Laemmle. Jack soon found himself in charge of IMP's shorts as an uncredited producer. He was involved in Laemmle's first stab at feature production, Traffic in Souls (1913), which returned a then-whopping $450,000 on a $57,000 negative cost, convincing Uncle Carl to head west and invest in his own studio, Universal City. During this period Jack had convinced Laemmle to hire Joe Brandt, an attorney he'd worked for in advertising. Brandt, who would become the head of Universal's East Coast operations, would later be a key factor in the brothers' success.
Harry had grown up in his brother's shadow, working for much of the first decade of the 20th century as a lowly shipping clerk for a music publishing company. In 1912 he teamed with Harry Ruby at a local nickelodeon, singing duo for $28 per week, with Ruby receiving the biggest slice of the pie. The act would split up within a year and, after a brief stint as a trolley-car fare collector, Harry hit on the idea of applying song plugging to motion pictures. He produced a handful of silent shorts in which popular songs were mimed by actors, inviting the audiences to join in. His relatively modest success at this greased the skids for his brother to recommend him for a job at Universal. At age 27 Harry was working for Laemmle.
By 1919 Jack was itching for a change and wanted to become an independent film producer--he produced a series of shorts called Screen Snapshots, which purported to show stars' lives off-screen. Their popularity encouraged Jack to jump ship and Harry, sensing an opportunity, went with him. With them went Joe Brandt. The three formed CBC Film Sales, which released shorts, mostly terrible--so terrible, in fact, they earned the studio the nickname "Corned Beef and Cabbage Productions" (Harry would explode into a rage whenever he heard this). Desperate to put distance between he and his brother, Harry headed for Hollywood to oversee CBC productions there. By design or opportunity he ended up working out of the old Balshofer Studio on Hollywood Boulevard and gradually created his own studio, renting out the Independent Studios lot on Sunset and Gower. This was the heart of "Poverty Row"--so-called because it was an area filled with the offices of low-budget production companies and fly-by-night producers, who ground out ultra-cheap programmers (mostly westerns) hoping to make a few bucks. Harry was home.
He began producing two-reelers cheaply and nearly everything he sent east made money for CBC. It soon dawned on him that the big money wasn't in shorts but features, and the company scraped $20,000 together and produced More to Be Pitied Than Scorned (1922). Through the then-complex system of exchange releasing and so-called states rights sales, CBC netted $130,000 on the picture and, even more importantly, scored a deal for five additional features. By the end of 1923 CBC had released ten features, none of which lost money--a remarkable event along Gower Gulch. Harry was extremely conscious of his place in Hollywood and took offense at the derision CBC films received. He finally had enough, and on January 10, 1924, the company's name became Columbia Pictures Corporation. The next year the company paid $150,000 for a property at 6070 Sunset Boulevard. The partners made a fateful decision about the same time: unlike most of the other major studios (and this definition certainly didn't include Columbia at the time), they opted to forego theater ownership. This decision would prove extremely wise over the next 3three decades. Under Harry, Columbia rose from the Gower Gulch ash heap. His releases rarely featured A-list stars but consistently made money. Columbia took its first tentative stab at A-list feature production with The Blood Ship (1927) (its first featuring the now-familiar torch lady logo), and even that was made using a faded star, Hobart Bosworth, who agreed to appear in the melodrama for free.
Fate smiled on Harry when former Mack Sennett writer/director Frank Capra became available, and he was able to initially secure Capra's services for $1000 per picture. Capra's importance to the fortunes of Columbia Pictures cannot be overstated and, to be fair to Cohn, he recognized it. With rare exceptions the studio utilized competent journeymen directors like Erle C. Kenton, Malcolm St. Clair or Edward LeSaint, usually assigned to projects starring capable B-level actors hired on a one-shot basis (every so often Columbia would splurge and hire an "A"-list director like Howard Hawks. With each of his features, Capra's significance to Columbia grew, and with each hit Capra was given increasing carte blanche; the congenitally tightfisted Cohn would still fight bitterly with his star director over budgets, but would usually relent to the demands of his productions. Strangely, Columbia's status as a Poverty Row outfit actually helped. The major studios loaned them temperamental stars who demanded pay raises or script approval--since working for a "low-rent" studio like Columbia was considered punishment in the class-conscious world of Hollywood--and Harry enthusiastically assigned them to Capra's pictures, a tactic that usually paid off big. A top actor from MGM or Warners was expected to suffer in the low-budget purgatory of Gower Gulch but usually left eagerly wanting to work for Capra again. One such production, It Happened One Night (1934), single-handedly propelled the studio into the ranks of the majors and garnered Columbia its first Oscars (although the studio had been nominated for productions infrequently since 1931). Cohn never looked back; signing directors to contracts was one thing, but hordes of potentially unruly actors was another thing entirely--he held firm to his long-standing belief that contract stars were nothing but trouble, after paying keen interest to Jack L. Warner's battles with James Cagney, Bette Davis and Olivia de Havilland. In 1934 he signed The Three Stooges (who would enjoy a 22-year run at Columbia) and recent German émigré Peter Lorre (Cohn was at a loss on how to utilize him and Lorre would spent most of his time at Columbia being loaned out to other studios) to long-term contracts, but wouldn't begin to build a roster of contract stars in earnest until the late 1930s, beginning with Rosalind Russell, and always he kept their numbers comparatively small (William Holden, Glenn Ford and Rita Hayworth were among the select few in the late 1930s and early 1940s).
The vast majority of Columbia's output remained at the B-level well into the 1950s, but most of its films were profitable. It took Columbia until 1946 to experience its first bona fide blockbuster with The Jolson Story (1946), which netted $8 million on a $2-million investment and resulted in a profitable sequel in 1949. Among the major studios only Paramount and Columbia eagerly welcomed the intrusion of television, and Columbia responded by creating a subsidiary, Screen Gems (created by Harry's nephew Ralph Cohn) in the early 1950s. The division would pay off handsomely over the next 20 years.
Harry and his brother Jack continued to fight fiercely over business matters until Jack's death in 1956. Harry himself died of a heart attack in 1958. Despite his undeniable crudeness--the boorish, thuggish, crooked, loudmouthed "Harry Brock" character in Garson Kanin's classic Born Yesterday (1950), memorably played by Broderick Crawford, was largely based on Cohn), Harry Cohn's Columbia Pictures never had a negative year during his 30-year-plus reign--a record only approached by Louis B. Mayer, who ruled MGM from 1924 through mid-1951. Columbia began from a far more disadvantaged position than MGM did, though, and it thrived due to Cohn's keen judge of talent and his near-fanatical adherence to early business policies that were originally ridiculed.- Walter Bacon was born on 13 May 1891 in Brooklyn, New York, USA. He was an actor, known for Fighting Fate (1921). He was married to Sybil Bacon. He died on 7 November 1973 in Hollywood, California, USA.
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Ray portrayed simple unaffected country bumpkins in silent rural melodramas. Unfortunately, Ray let Hollywood turn him into a headstrong egotist. Alienating most producers, he put up his own money to finance a major feature called The Courtship of Myles Standish (1923). The film was a miserable failure that wiped out Ray's fortune. Comeback attempts were hampered by the advent of the sound picture.- Actor
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- Soundtrack
Chubby silent film comic Bert Roach began on the New York stage at the age of 17. In 1911, he headlined in the two-act musical farce Louisiana Lou and then spent several years in stock as a lead tenor. Two years later, he made his screen debut at Keystone in Mack Sennett's Fatty's Magic Pants (1914). From then on, he remained busily engaged as a utility player, tallying up an impressive 350-plus acting credits. Often sporting an oversized Germanic moustache, Bert was a natural for silent slapstick. He had recurring roles in several Alice Howell vehicles at Universal in the mid-20s. In early talkies, he was employed by both Al Christie and Hal Roach (no relation) where he often showed his penchant for playing inebriates. He also had a good line in looking scared out of his wits, which he demonstrated to effect in Murders in the Rue Morgue (1932). On rare occasions, he was featured support in A-grade product like San Francisco (1936) (Freddie Duane) or The Man in the Iron Mask (1939) (Athos). For the most part, however, he was merely glimpsed in the background as nameless bartenders, stage hands, drunks and 'fat men'. Bert was one of many veteran silent comics who came together in 1947 to appear in the (inaccurate) Pearl White biopic The Perils of Pauline (1947), starring Betty Hutton.- Fritz Heinrich Rasp was the thirteenth child of a county surveyor. He was schooled from 1908-1909 at the Theaterschule Otto Königin in Munich where, due to a speech impediment, Rasp developed a Frankish dialect. Rasp debuted on the stage in 1909, as Amandus in Max Halbe's "Skandalstück Jugend" as the Münchner Schauspielhaus.
In May 1914, Rasp received a five-year contract in the Reinhardts Deutschem Theater in Berlin, which was interrupted by his military service to Germany from 1916 - 1918. - Steve Clark was born on 26 February 1891 in Davis County, Indiana, USA. He was an actor, known for Durango Valley Raiders (1938), Haunted Ranch (1943) and Saddle Mountain Roundup (1941). He was married to Emily Margaret Clark and Ruth. He died on 29 June 1954 in Van Nuys, Los Angeles, California, USA.