Happy Birthday Marie Dressler

This week is the 146th birthday of Marie Dressler, an amazing character actress.  She is one of those actors that play the mother or the wealthy aunt or the uptight grandmother that is really there to create conflict and contrast between the leading roles, but I end up watching her.  Later in her film career, they would give her these lines, little throw away quips that were so hilarious and I hope she really loved being able to sneak in zingers while the rest of the characters were too caught up in love and so forth to notice.  The world is a better place because she was in it and still feels the loss since she has left.

NAME: Marie Dressler
OCCUPATION: Film Actress, Theater Actress, Comedian
BIRTHDATE: November 09, 1868
DEATH DATE: July 28, 1934
PLACE OF BIRTH: Cobourg, Canada
PLACE OF DEATH: Santa Barbara, California
Originally: Leila Marie Koerber

Best Known For:  Marie Dressler is best known for her acting in the theater and film, winning an Oscar.

Dressler had appeared in two shorts as herself, but her first role in a feature film came in 1914, at the age of 44.  After Mack Sennett became the owner of his namesake motion picture studio, he convinced Dressler to star in his 1914 silent film Tillie’s Punctured Romance. The film was to be the first full-length, six-reel motion picture comedy.  According to Sennett, a prospective budget of $200,000 meant that he needed “a star whose name and face meant something to every possible theatre-goer in the United States and the British Empire.”  The movie was based on Dressler’s hit Tillie’s Nightmare, a choice credited either to Dressler or to a Keystone studio employee.  Dressler herself claims to have cast Charles Chaplin in the movie as her leading man, and was “proud to have had a part in giving him his first big chance.”  Instead of his recently invented Tramp character, Chaplin played a villainous rogue. Silent film comedienne Mabel Normand also starred in the movie. Tillie’s Punctured Romance was a hit with audiences and Dressler appeared in two Tillie sequels and other comedies until 1918, when she returned to vaudeville.

In 1919, during the Actors’ Equity strike in New York City, the Chorus Equity Association was formed and voted Dressler its first president. Dressler was blacklisted by the theater production companies due to her strong stance. Dressler found it difficult to find work during the 1920s. She left New York for Hollywood in search of work in films.

In 1927, Frances Marion, an MGM screenwriter, came to Dressler’s rescue. Dressler had shown great kindness to Marion during the filming of Tillie Wakes Up in 1917, and in return, Marion used her influence with MGM’s production chief Irving Thalberg to return Dressler to the screen.  Her first MGM feature was The Callahans and the Murphys (1927), a rowdy silent comedy co-starring Dressler (as Ma Callahan) with another former Mack Sennett comedienne, Polly Moran, written by Marion.

The film was initially a success, but the portrayal of Irish characters caused a protest in the Irish World newspaper, protests by the American Irish Vigilance Committee, and pickets outside the film’s New York theatre. The film was first cut by MGM in an attempt to appease the Irish community, then eventually pulled from release after Cardinal Dougherty of the diocese of Philadelphia called MGM president Nicholas Schenck.  It was not shown again, and the negative and prints may have been destroyed. While the film brought her to Hollywood, it did not establish Dressler’s career. Her next appearance was a minor part in the First National film Breakfast at Sunrise. She appeared again with Moran in Bringing Up Father, another film written by Marion, and also appeared in an early color film, The Joy Girl. Dressler returned to MGM in 1928’s The Patsy in a winning portrayal, playing the fluttery mother to star Marion Davies and Jane Winton.

Hollywood was converting from silent films, but “talkies” presented no problems for Dressler, whose rumbling voice could handle both sympathetic scenes and snappy comebacks (she’s the wisecracking stage actress in Chasing Rainbows and the dubious matron in Rudy Vallee’s Vagabond Lover). Early in 1930, Dressler joined Edward Everett Horton’s theater troupe in L.A. to play a princess in Ferenc Molnár’s The Swan. But after one week, she quit the troupe. She proceeded to leave Horton flat, much to his indignation.

Frances Marion persuaded Thalberg to give Dressler the role of Marthy, the old harridan who welcomes Greta Garbo home after the search for her father, in the 1930 film Anna Christie. Garbo and the critics were impressed by Dressler’s acting ability, and so was MGM, which quickly signed her to a $500-per-week contract.

A robust, full-bodied woman of very plain features, Dressler went on to act in comic films which were very popular with the movie-going public and an equally lucrative investment for MGM. Although past sixty years of age, she quickly became Hollywood’s number one box-office attraction, and stayed on top until her death at age 65. In addition to her comedic genius and her natural elegance, Dressler demonstrated her considerable talents by taking on serious roles. For her starring portrayal in Min and Bill, with Wallace Beery, she won the 1930–31 Academy Award for Best Actress (the eligibility years were staggered at that time). Dressler was nominated again for Best Actress for her 1932 starring role in Emma. With that film, Dressler demonstrated her profound generosity to other performers. Dressler personally insisted that her studio bosses cast a friend of hers, a largely unknown young actor named Richard Cromwell, in the lead opposite her. This break helped launch his career.

Dressler followed these successes with more hits in 1933, including the comedy Dinner at Eight, in which she played an aging but vivacious former stage actress. Dressler had a memorable bit with Jean Harlow in the film:

Harlow: Do you know that the guy said that machinery is going to take the place of every profession?
Dressler: Oh my dear, that’s something you need never worry about.

Following the release of that film, Dressler appeared on the cover of Time magazine, in its August 7, 1933, issue. MGM held a huge birthday party for Dressler in 1933, broadcast live via radio. Her newly regenerated career came to an abrupt end when she was diagnosed with terminal cancer in 1934. MGM head Louis B. Mayer learned of Dressler’s illness from her doctor and asked that she not be told. To keep her home, he ordered her not to travel on her vacation because he wanted to put her in a new film. Dressler was furious but complied.

Dressler appeared in more than forty films, and achieved her greatest successes in talking pictures made during the last years of her life. Always seeing herself as physically unattractive, she wrote an autobiography titled The Life Story of an Ugly Duckling.

On Saturday July 28, 1934, Dressler died of cancer at the age of 65 in Santa Barbara, California. After a private funeral held at The Wee Kirk o’ the Heather chapel, Dressler was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park, Glendale in Glendale, California.

Dressler left an estate worth $310,000, the bulk left to her sister Bonita.  Dressler left her 1931 automobile and $35,000 in her will to her maid of twenty years, Mamie Cox, and $15,000 to Cox’s husband Jerry, who had served as Dressler’s butler for four years.  The two used the funds to open the Cocoanut Grove night club in Savannah, Georgia in 1936, named after the night club in Los Angeles.

Dressler’s birth home in Cobourg, Ontario is known as the “Marie Dressler House” and is open to the public. The home was converted to a restaurant in 1937 and operated as a restaurant until 1989, when it was damaged by fire. It was restored but did not open again as a restaurant. It was the office of the Cobourg Chamber of Commerce until its conversion to its current use as a museum about Dressler and as a visitor information office for Cobourg. Each year, the Marie Dressler Foundation Vintage Film Festival is held, with screenings in Cobourg and in Port Hope, Ontario.

For her contribution to the motion picture industry, Marie Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street, added in 1960.

Canada Post, as part of its “Canada in Hollywood” series, issued a postage stamp on June 30, 2008 to honour Marie Dressler.

Happy Birthday Sally Field

Today is the 68th birthday of Sally Field.  The world is a better place because she is in it.

NAME: Sally Field
OCCUPATION: Actress
BIRTH DATE: November 6, 1946
PLACE OF BIRTH: Pasadena, California
FULL NAME: Sally Margaret Field

BEST KNOWN FOR: Sally Field is an American actress best known TV and film roles such as Gidget, The Flying Nun, Smokey and the Bandit, Sybil and Places in the Heart.

Actress, director and writer Sally Margaret Field was born on November 6, 1946, in Pasadena, California. Sally Field, the youngest of two children born to actress Margaret Field, grew up in show business. After Sally’s parents divorced, her mother married actor and stuntman Jock Mahoney. Field’s stepfather was a strict disciplinarian who expected faithful obedience from Field, her older brother, and half-sister Princess. Mahoney also fought frequently with Sally’s mother, and the couple’s increasingly rocky relationship weighted heavily on the children. Sally found solace from her difficult home life by focusing on her extracurricular activities at school. “I’d landed in the drama department, and it just kind of saved me,” she later explained to Good Housekeeping magazine.

After finishing up at Birmingham High School in Van Nuys, California, Field attended an acting workshop at Columbia Studios, which helped launch her film and television career. She landed the leading role in the television series Gidget, which was based on the popular 1959 Sandra Dee film by the same name. Field was only 18 years old when the series debuted in the fall of 1965. Petite and perky, she played a teenager on a quest to find fun with her best friend Larue (played by Lynette Winter). The show was canceled after one season, but Field became popular with television audiences—so popular, in fact, that the network created another series for her. The Flying Nun starred Field as Sister Bertrille, a nun so light that she could take flight. Field didn’t want to take the part, but her stepfather insisted, telling her, “If you turn down this part, you may never work again.”

The Flying Nun premiered in September 1967, and soon became a huge hit. Viewers seemed to enjoy following the misadventures of quirky, aerodynamic Sister Bertrille. Behind the scenes, however, Field was miserable. She struggled with the feeling that she would never be considered a serious actress, and the show only magnified that fear. In 1968, she married her high school sweetheart, Steven Craig, and soon became pregnant. Her pregnancy was hidden on the series using creative shots and the folds of her billowy nun’s habit. Field wouldn’t have to hide for long, though; the show was canceled in 1970, after three seasons on the air.

After giving birth to a second child in 1972, Field returned to acting in 1973 with the short-lived sitcom The Girl with Something Extra. Field played a young newlywed with ESP on the show, which lasted only one season. Reconnecting to her craft, Field studied acting at the Actors Studio with famed teacher Lee Strasberg. Strasberg became a powerful mentor, encouraging Field to move away from her goody-two-shoes television image. This new part of her transformation also included divorcing her husband in 1975.

After several auditions, Field landed a role in 1976’s bodybuilding film Stay Hungry with Jeff Bridges and Arnold Schwarzenegger. She co-starred as a party girl, a far cry from the innocent characters she played on the small screen. That same year, Field entered a new phase of her career with the television movie Sybil. She showed great emotional range as a woman with multiple-personality disorder, winning her first Emmy Award for her work on the TV film. Returning to the big screen, Field appeared in 1977’s Smokey and the Bandit, playing a runaway bride who catches a ride from a trucker (played by Bert Reynolds). Field and Reynolds became romantically involved on the set of film, and starred together in several light-hearted comedies, including 1978’s Hooper and 1980’s Smokey and the Bandit II.

It was a dramatic role that brought Field her first Academy Award. In 1979, she starred as a gutsy, determined mill worker who tries to unionize her workplace in Norma Rae. Field received raves for her performance and netted the Best Actress Oscar, beating out the likes of Jane Fonda, Marsha Mason, Jill Clayburgh, and Bette Midler. She continued to take on dramatic fare, starring opposite Paul Newman in 1981’s Absence of Malice. In the film, Field played a ruthless journalist.

Re-teaming with Jeff Bridges, Field starred in the 1982 romantic comedy Kiss Me Goodbye as a widow trying to rebuild her life. Her character is haunted by her late husband’s ghost (played by James Caan), who does not approve of her new love interest. For her work on the film, Field was nominated for a Golden Globe Award.

Field then starred the 1984 historical drama Places in the Heart, as a widow struggling to keep her family’s farm during the Great Depression. The film featured a strong supporting cast, including John Malkovich, Lindsay Crouse, Danny Glover and Ed Harris, and received strong reviews. Nominated for seven Academy Awards, the film won two—one for writing, and one for Field as Best Actress. Field was just as thrilled to be winning her second Academy Award as she was for her first, perhaps even more so. During her acceptance speech, she gushed, “You like me. You really like me.” This enthusiastic comment may have been the most memorable quote of the evening, and Field soon found herself the subject of numerous jokes and quips because of it.

Field’s career continued to thrive with leading roles in 1985’s Murphy’s Romance with James Garner and 1988’s Punchline. As part of an all-star cast, she appeared in the 1989 Southern drama Steel Magnolias, which included Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis, and a young starlet named Julia Roberts. Field later produced the 1991 drama Dying Young, which starred Roberts.

In the 1990s, Field took on more character and supporting roles. She played Robin Williams’ estranged wife in the family comedy Mrs. Doubtfire and Tom Hanks’ mother in the 1994 whimsical hit Forest Gump. She also produced and starred in the 1995 television miniseries A Woman of Independent Means, the story of one woman’s life journey during the early 20th century. Continuing to work behind the scenes, she directed and wrote the 1996 holiday television movie The Christmas Tree, which starred Julie Harris.

Field next directed the 2000 film Beautiful, which starred Minnie Driver as a ruthless beauty queen. Returning to series television, Field won accolades for her recurring role on the hit drama ER, playing the bipolar mother of one of the doctors. Field’s nuanced performance earned her another Emmy Award—this time for Outstanding Guest Actress in a Drama Series in 2001.

In 2002, Field fulfilled a personal dream by starring on Broadway in Edward Albee’s The Goat, or Who Is Sylvia?. She then had a supporting role on the 2003 big-screen comedy Legally Blonde 2: Red, White & Blonde starring Reese Witherspoon. Before long, Field was contemplating a return to series television. She found great success with the family drama Brothers & Sisters, playing the matriarch of the Walker family. The show resonated with Field’s own values, saying it “is all about a dysfunctional family whose members deeply love each other and are bonded together. My whole life is about family,” Field told the Saturday Evening Post. She won her third Emmy Award for her portrayal of Nora Walker in 2007.

After Brothers & Sisters went off the air in 2011, Field returned to the big screen. She had a supporting role in the summer blockbuster The Amazing Spider-Man (2012) starring Andrew Garfield. In the film, Field played Peter Parker’s beloved Aunt May. That fall, Field tackled the role of one of American history’s least popular first ladies. She co-starred with Daniel Day-Lewis in Lincoln, with Day-Lewis as the beloved president Abraham Lincoln and Field as his wife, Mary Todd Lincoln. Joseph Gordon-Levitt plays Robert Todd Lincoln in the film.

Outside of her television work, Field has served on the board of the Sundance Institute. She has also worked with young actors during the institute’s summer programs. Diagnosed with osteoporosis, Field has become a spokesperson on the issue for a pharmaceutical company that markets Boniva, a medication to treat the disease.

Field is also devoted to her three adult children and her grandchildren. She has two sons, Peter and Eli, from her first marriage. Her youngest son, Samuel, is from her second marriage to producer Alan Greisman, which lasted from 1984 to 1993.

Blue Velvet – Required Viewing

blue-velvet

The Wiki:

Blue Velvet is a 1986 American mystery film written and directed by David Lynch. The movie exhibits elements of both film noir and surrealism. The film stars Kyle MacLachlan, Isabella Rossellini, Dennis Hopper and Laura Dern. The title is taken from The Clovers’ 1955 song of the same name. Although initially detested by some mainstream critics, the film is now widely acclaimed,[1][2] and earned Lynch his second Academy Award nomination for Best Director. As an example of a director casting against the norm, Blue Velvet is also noted for re-launching Hopper’s career and for providing Rossellini with a dramatic outlet beyond the work as a fashion model and a cosmetics spokeswoman for which she had until then been known.

After the commercial and critical failure of Lynch’s Dune (1984), he made attempts at developing a more “personal story”, somewhat characteristic of the surreal style he displayed in his debut Eraserhead (1977). The screenplay of Blue Velvet had been passed around multiple times in the late 1970s and early 1980s, with many major studios declining it because of its strong sexual and violent content.[3] The independent studio De Laurentiis Entertainment Group, owned at the time by Italian film producer Dino De Laurentiis, agreed to finance and produce the film. Since its initial theatrical release, Blue Velvet has achieved cult status, significant academic attention and, alongside Eraserhead and Mulholland Drive, is widely regarded as one of Lynch’s finest works. It is also seen by many critics as representing a modern-day version of film-noir, “neo-noir”, present in many thrillers from the early 1980s to the mid-1990s. Blue Velvet was ranked as one of the 100 Greatest Films of All Time by Entertainment Weekly in 1999 and chosen by the American Film Institute as one of the greatest mystery films ever made.

The film centers on eccentric college student Jeffrey Beaumont (MacLachlan), who, returning from visiting his ill father in the hospital, comes across a human ear in a field in his hometown of Lumberton. He proceeds to investigate the ear with help from a high school student, Sandy Williams (Dern), who provides him with information and leads from her father, a local police detective. Jeffrey’s investigation draws him deeper into his hometown’s seedy underworld, and sees him forming a sexual relationship with the alluring torch singer Dorothy Vallens (Rossellini), and uncovering the psychotic criminal Frank Booth (Hopper), who engages in drug abuse, kidnapping, and sexual violence.

Happy Birthday Carole Lombard

Today is the 108th birthday of Carole Lombard.  “My Man Godfrey” is on of my favorite movies and part of that reason is because of Carole Lombard. She is perfection. Her life story is one of those that even Hollywood couldn’t make up and have people believe it.

NAME: Carole Lombard
OCCUPATION: Film Actress, Pin-up
BIRTH DATE: October 06, 1908
DEATH DATE: January 16, 1942
PLACE OF BIRTH: Fort Wayne, Indiana
PLACE OF DEATH: Las Vegas, Nevada
ORIGINALLY: Jane Alice Peters

BEST KNOWN FOR: Carole Lombard starred in comedic films during the 1930s. She married actor Clark Gable in 1939, but died in a tragic plane accident a few years later.

Carole Lombard (October 6, 1908 – January 16, 1942) was an American actress. She is particularly noted for her comedic roles in the screwball comedies of the 1930s. She is listed as one of the American Film Institute’s greatest stars of all time and was the highest-paid star in Hollywood in the late 1930s, earning around US $500,000 per year[citation needed] (more than five times the salary of the US President). Lombard’s career was cut short when she died at the age of 33 in a plane crash while returning from a World War II Bond tour.

Queen of the 1930s screwball comedies, she personified the anxiety of a nervous age. Graham Greene praised the “heartbreaking and nostalgic melodies” of her faster-than-thought delivery. “Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lamé, she wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey.”

In 1999, the American Film Institute ranked Lombard 23rd on its list of the 50 greatest American female screen legends. She received one Academy Award for Best Actress nomination, for My Man Godfrey. She has a star on the Hollywood Walk of Fame, at 6930 Hollywood Blvd.

Lombard’s Fort Wayne childhood home has been designated a historic landmark. The city named the nearby bridge over the St. Mary’s River the Carole Lombard Memorial Bridge.

Personal Quotes:

“I can’t imagine a duller fate than being the best dressed woman in reality. When I want to do something I don’t pause to contemplate whether I’m exquisitely gowned. I want to live, not pose!” – Carole Lombard

Carole Lombard’s Golden Rules:

1. Play Fair.

“You’ll find that men usually play fair,” Carole said. “It’s all very well to say that you want to back out of a bargain because you’ve changed your mind. That’s supposed to be a woman’s privilege. But men don’t play the game that way. A man who says he’ll do a thing and then reneges, is soon put where he belongs, out in the cold.

“If I say I’ll do something, I make it stick.”

2. Don’t Brag.

“Men can brag,” Carole points out, “but that’s where a woman can’t do what men do, and still be feminine. No man will endure listening to a girl boast about how smart she is.”

3. Obey the Boss.

“A career girl who competes with men has to learn that rule — or else. If she won’t accept discipline, or bow to the rules of the institution and take orders, she can’t succeed. I know that the picture director knows best. I remember when I was making ‘My Man Godfrey’ with William Powell. Gregory La Cava was directing. One day he was ill, but he insisted that work go on while he rested.

“‘You know what to do,’ he told us. ‘Just pretend I’m there and go ahead.’

“Well, it didn’t work. Bill and I were used to taking orders because it’s part of the discipline of the studio. It was a simple scene, we knew what to do, but the director wasn’t there and we felt lost. Somebody has to be the boss in every big enterprise, and if the boss is absent the business soon comes to a halt.”

4. Take Criticism.

“Men have learned to take criticism, that is, the successful men. The ones who flare up and go home mad are the kind who never get the last installment paid on the radio.

“Here again the movies have taught me. I have learned to take criticism and stand up to it like a man. Yet a woman will simply burn if you hint that the hat she’s got on doesn’t look quite perfect, or that she might, just might, have led from the queen, jack, ten instead of tossing in an eight spot.

“I went to a showing of the first rough cut of ‘Swing High, Swing Low,’ in a small college town.

“In the tragic scene, where I screwed up my face to cry (I can’t help it if I look that way when I cry), the audience laughed. When I really turned it on and emoted, they howled. It was heartbreaking. I felt like crawling under the seats and losing myself among the gum and other useless things.

“But I had to take it. If you’re playing according to masculine rules, which is required of any girl with a career, you’ve got to accept criticism and profit by it. Otherwise how could you become a singer, decorator, painter or private secretary? I learned something from that experience, too. I’m best if I top off tears with a laugh. A star who is too big for criticism sooner or later loses out. That goes for working women, too.”

5. Love is Private.

“When it comes to your personal life, such as love and romance, girls should take a tip from the men and keep their affairs to themselves. Any man worth his salt regards his private life as his own. To kiss a girl and run and tell would mark him as a cad. Why doesn’t that apply to girls also?”

6. Work — And Like It!

All women should have something worthwhile to do,” says Carole, “and cultivate efficiency at it, whether it’s housekeeping or raising chickens.

Working women are interesting women. And they’re easier to live with. Idle women who can think of nothing to do with their time are dangerous to themselves and to others. The only ‘catty’ women I’ve known were idlers, with nothing to do but gossip and make trouble.”

7. Pay Your Share.

“Nobody likes a man who is always fumbling when it’s time to pay the check,” Carole points out. “I think the woman who assumes that the man can afford to pay for everything is making a mistake. More and more the custom of the Dutch treat is coming in vogue, particularly among working men and women. You don’t have to surrender your femininity if you pay your share of the bills.”

8. The Cardinal Virtue

“–Is a sense of humor,” says Carole. “Do you laugh in the right places? Then, you’ll get along, in fair weather or foul. Humor is nothing less than a sense of the fitness of things. Something that’s out of proportion, like an inflated ego, should strike you funny, particularly if it’s your own inflated ego. Otherwise you are pathetic and quite hopeless.”

9. Be Consistent.

“By that,” remarks Carole, “I mean you should take a hint from the men. They are terribly consistent, as a rule. You can tell what they’ll do in any given circumstance.

“If a girl puts her best foot forward at the office, she shouldn’t change steps when she gets home. A career girl must be neatly turned out, even-tempered and willing to take orders at work, and there’s no reason why she must check these virtues with her hat and coat when she leaves her place of business.

“I manage to add enough inconsistency to my behavior at the studio so that I’m the same there as at home; inclined to blow off steam at odd moments or be very demure and sweet-tempered — just to keep ‘em guessing. In fact I’ve got myself guessing. I don’t quite know which way I am. That’s being consistently inconsistent, anyway.

“Men are about the same at home as they are at work. Don’t say it’s because they lack the imagination to be otherwise — just take the hint. Men are creatures of habit and comfort, and they are puzzled and disturbed by change. That’s why so many of them marry their stenographers; it’s in hope of finding the same efficiency at home as at the office. They are supreme optimists.

“If you go into the business world to meet male competition, then you’ve got to play the game more or less according to their rules.

“By doing that, I’ve found that any intelligent girl can get along very well. About the only important difference I’ve noticed is in the problem of travel; men can travel alone easier than women. However, old habits of transportation are changing and the comfort of women is more and more the concern of air, railroad and bus travel.”
10. Be Feminine.

“All of this,” Carole declares, “does not keep you from preserving your femininity. You can still be insane about a particular brand of perfume, and weep when you get a run in your favorite pair of stockings.

“You can still have fits when the store sends out the very shade of red drapes you did not order, and which swear horribly at the red in the davenport. But when you go down to complain, be a man about it.

“All of which sums up to this. Play fair and be reasonable. When a woman can do that, she’ll make some man the best manager he ever found, or wind up running a whole department store. And being a woman, thank heaven you still have that choice!”

 

Happy Birthday Lauren Bacall

NAME: Lauren Bacall
OCCUPATION: Film Actress, Theater Actress, Television Actress, Pin-up
BIRTH DATE: September 16, 1924 (Age: 87)
PLACE OF BIRTH: New York City, New York
ORIGINALLY: Betty Joan Perske

BEST KNOWN FOR: Lauren Bacall is an American actress known for her distinctive husky voice and sultry looks. She is best remembered for portrayals of provocative women.

Lauren Bacall (born Betty Joan Perske, September 16, 1924) is an American film and stage actress and model, known for her distinctive husky voice and sultry looks.

She first emerged as leading lady in the Humphrey Bogart film To Have And Have Not (1944) and continued on in the film noir genre, with appearances in Bogart movies The Big Sleep (1946) and Dark Passage (1947), as well as a comedienne in How to Marry a Millionaire (1953) with Marilyn Monroe and Designing Woman (1957) with Gregory Peck. Bacall has also worked on Broadway in musicals, gaining a Tony Awards for Applause in 1970 and Woman of the Year in 1981. Her performance in the movie The Mirror Has Two Faces (1996) earned her a Golden Globe Award and an Academy Award nomination.

In 1999, Bacall was ranked #20 of the 25 actresses on the AFI’s 100 Years… 100 Stars list by the American Film Institute. In 2009, she was selected by the Academy of Motion Picture Arts and Sciences to receive an Academy Honorary Award “in recognition of her central place in the Golden Age of motion pictures.”

She campaigned for Democratic candidate Adlai Stevenson in the 1952 Presidential election and for Robert Kennedy in his 1964 run for Senate.

In a 2005 interview with Larry King, Bacall described herself as “anti-Republican… A liberal. The L-word.” She went on to say that “being a liberal is the best thing on earth you can be. You are welcoming to everyone when you’re a liberal. You do not have a small mind.”

 

Happy Birthday Barbara Stanwyck

This week marks the 107th birthday of Barbara Stanwyck.

NAME: Barbara Stanwyck
OCCUPATION: Film Actress, Television Actress, Dancer, Pin-up
BIRTH DATE: July 16, 1907
DEATH DATE: January 20, 1990
PLACE OF BIRTH: Brooklyn, New York
PLACE OF DEATH: Santa Monica, California
ORIGINALLY: Ruby Stevens

BEST KNOWN FOR: Barbara Stanwyck was an American actress who had a 60-year career in film and TV. Usually playing strong-willed women, Stanwyck defined the femme fatale.

Barbara Stanwyck (July 16, 1907 – January 20, 1990) was an American actress. She was a film and television star, known during her 60-year career as a consummate and versatile professional with a strong screen presence, and a favorite of directors including Cecil B. DeMille, Fritz Lang and Frank Capra. After a short but notable career as a stage actress in the late 1920s, she made 85 films in 38 years in Hollywood, before turning to television.

Stanwyck was nominated for the Academy Award four times, and won three Emmy Awards and a Golden Globe. She was the recipient of honorary lifetime awards from the Motion Picture Academy, the Film Society of Lincoln Center, the Golden Globes, the Los Angeles Film Critics Association, and the Screen Actors Guild, has a star on the Hollywood Walk of Fame and is ranked as the eleventh greatest female star of all time by the American Film Institute.

Happy Birthday Eva Marie Saint

Tomorrow is the 90th birthday of Eva Marie Saint.  If ever asked to pick my favorite “Hitchcock Blonde,” I would have a very hard time picking just one. Eva Marie Saint is one of them for sure, maybe the first. Her cool sexiness in North by Northwest is par none. My sister and I must have watched that film at least 25 times after school, it was the beginning of my obsession with Mid Century everything and that amazing Paramount VistaVision! You should also watch On The Waterfront to truly see her range, it is her first film and beyond legendary.

Born July 4, 1924  Newark, New Jersey, United States
Occupation: Actress

Eva Marie Saint (born July 4, 1924) is an American actress who has starred in films, on Broadway, and on television in a career spanning seven decades. She won an Academy Award for Best Supporting Actress for her performance in the drama film On the Waterfront (1954), and later starred in the thriller film North by Northwest (1959), directed by Alfred Hitchcock. Saint received Golden Globe and BAFTA award nominations for the drama film A Hatful of Rain (1957) and won an Emmy Award for the television miniseries People Like Us (1990). Her film career also includes roles in Raintree County (1957), Because of Winn-Dixie (2005), and Superman Returns (2006).

Saint’s first feature-film role, at age 30, was in On the Waterfront (1954), directed by Elia Kazan and starring Marlon Brando – a performance for which she won the Academy Award for Best Supporting Actress. Her role as Edie Doyle (whose brother’s death sets the film’s drama in motion), which she won over such leading contenders as Claire Trevor, Nina Foch, Katy Jurado, and Jan Sterling also earned her a British Academy of Film and Television Award nomination for “Most Promising Newcomer.” In his New York Times review, film critic Bosley Crowther wrote:

“In casting Eva Marie Saint – a newcomer to movies from TV and Broadway – Mr. Kazan has come up with a pretty and blond artisan who does not have to depend on these attributes. Her parochial school training is no bar to love with the proper stranger. Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance.”

 

In a 2000 interview in Premiere magazine, Saint recalled making the hugely influential film:

“[Elia] Kazan put me in a room with Marlon Brando. He said ‘Brando is the boyfriend of your sister. You’re not used to being with a young man. Don’t let him in the door under any circumstances’. I don’t know what he told Marlon; you’ll have to ask him – good luck! [Brando] came in and started teasing me. He put me off-balance. And I remained off-balance for the whole shoot.”

The film was a major success and launched Saint’s movie career. She starred with Don Murray in the pioneering drug-addiction drama, A Hatful of Rain (1957), for which she received a nomination for the “Best Foreign Actress” award from the British Academy of Film and Television, and the lavish Civil War epic Raintree County (also 1957) with Elizabeth Taylor and Montgomery Clift.

Director Alfred Hitchcock surprised many by choosing Saint over dozens of other candidates for the femme fatale role in what was to become a suspense classic North by Northwest (1959) with Cary Grant and James Mason. Written by Ernest Lehman, the film updated and expanded upon the director’s early “wrong man” spy adventures of the 1930s, 1940s, and 1950s, including The 39 Steps, Young and Innocent, and Foreign Correspondent. North by Northwest became a box-office hit and an influence on spy films for decades. The film ranks number forty on the American Film Institute’s list of the 100 Greatest American Movies of All Time.

At the time of the film’s production, much publicity was gained by Hitchcock’s decision to cut Saint’s waist-length blonde hair for the first time in her career. Hitchcock explained at the time, “Short hair gives Eva a more exotic look, in keeping with her role of the glamorous woman of my story. I wanted her dressed like a kept woman – smart, simple, subtle and quiet. In other words, anything but the bangles and beads type.” The director also worked with Saint to make her voice lower and huskier and even personally chose costumes for her during a shopping trip to Bergdorf Goodman in New York City.

The change in Saint’s screen persona, coupled with her adroit performance as a seductive woman of mystery who keeps Cary Grant (and the audience) off-balance, was widely heralded. In his New York Times review of August 7, 1959, critic Bosley Crowther wrote, “In casting Eva Marie Saint as [Cary Grant’s] romantic vis-a-vis, Mr. Hitchcock has plumbed some talents not shown by the actress heretofore. Although she is seemingly a hard, designing type, she also emerges both the sweet heroine and a glamorous charmer.” In 2000, recalling her experience making the picture with Cary Grant and Hitchcock, Saint said, “[Grant] would say, ‘See, Eva Marie, you don’t have to cry in a movie to have a good time. Just kick up your heels and have fun.’ Hitchcock said, ‘I don’t want you to do a sink-to-sink movie again, ever. You’ve done these black-and-white movies like On the Waterfront. It’s drab in that tenement house. Women go to the movies, and they’ve just left the sink at home. They don’t want to see you at the sink.’ I said, ‘I can’t promise you that, Hitch, because I love those dramas.'”

She has two stars on the Hollywood Walk of Fame, for motion pictures at 6624 Hollywood Boulevard, and television at 6730 Hollywood Boulevard.