Happy Birthday Ellen Burnstyn

Today is the 82nd birthday of Ellen Burnstyn.

ellyn burnstyn

NAME:  Ellen Burstyn
OCCUPATION:  Actress
BIRTH DATE:  December 7, 1932
PLACE OF BIRTH:  Detroit, Michigan
ORIGINALLY:  Edna Rae Gillooly

BEST KNOWN FOR: Actress Ellen Burstyn played the mother in The Exorcist and earned an Oscar for her role in Alice Doesn’t Live Here Anymore.

Actress. Born Edna Rae Gillooly, on December 7, 1932, in Detroit, Michigan. Burstyn left home at the age of 18 to work as a model. In the late 1950s, she landed her first regular acting gig, as a dancer on television’s The Jackie Gleason Show, billed as Erica Dean. She made her Broadway debut in 1957 in Fair Game, using the stage name Ellen McRae. She would keep that name for the next 10 years, while working steadily on television (the daytime drama The Doctors in 1964 and the western-themed series The Iron Horse from 1966-68) and in minor film roles (1964’s Goodbye, Charlie).

After changing her name yet again, this time to Ellen Burstyn, she landed what would become her breakthrough role, that of Lois Farrow in The Last Picture Show (1971), costarring Jeff Bridges and Cybill Shepherd. Her performance earned Burstyn her first Academy Award nomination, for Best Supporting Actress. She earned a second Oscar nod this time for Best Actress, two years later, for her role as the middle-aged actress whose daughter (Linda Blair) is possessed by demonic forces in The Exorcist, directed by William Friedkin.

In 1974, Burstyn produced and starred in Martin Scorsese’s emotional drama Alice Doesn’t Live Here Anymore, winning an Academy Award for Best Actress for her portrayal of a single mother struggling to support herself and her young son. In addition to her triumphs on screen, Burstyn took home a Tony Award in 1975 for her performance opposite Charles Grodin in Same Time, Next Year. She later reprised her role in the 1978 film version, co-starring Alan Alda, and garnered another Oscar nomination in the lead actress category. Her fourth Best Actress nod came just two years later, for Resurrection (1980).

A respected member of both the film and theater community, Burstyn served as the first female president of the Actor’s Equity Association from 1982 to 1985. Also in 1982, she succeeded Lee Strasberg as the co-artistic director (with Al Pacino) of the Actors Studio. Burstyn would serve in the Actors Studio post for the next six years (Pacino stepped down in 1984). Throughout the 1980s and 1990s, she also built up a considerable resume of acclaimed television features and series, beginning in 1981 with her Emmy-nominated performance in the fact-based miniseries The People vs. Jean Harris. In addition to such dramatic TV movies as Surviving (1985), Into Thin Air (1985), and the Emmy-nominated Pack of Lies (1987), Burstyn tried her hand at comedy with her own series, The Ellen Burstyn Show (1986-87).

Burstyn went on to play a number of small, if memorable, performances in a variety of more films, including How to Make an American Quilt (1995), starring Winona Ryder, and The Spitfire Grill (1996). In 1998, she was featured as part of the impressive ensemble cast of Playing By Heart, also featuring Sean Connery, Gena Rowlands, and Angelina Jolie. Burstyn plays a woman dealing with her grown son’s battle with AIDS in the film.

In 2000, Burstyn played to a decidedly younger audience with her costarring role opposite teen heartthrob Jonathan Taylor Thomas in the little-seen Walking Across Egypt. She was also featured in a small role in the crime drama The Yards, starring Mark Wahlberg, James Caan, and Joaquin Phoenix. On the small screen, she was a regular on the new comedy series That’s Life, playing the busybody mother of a grown woman who decides to go back to college to get her degree. By far her crowning achievement of that year, however, was her harrowing portrayal of a woman addicted to diet pills in the edgy, disturbing drama Requiem for a Dream, directed by Darren Aronofsky. The performance earned Burstyn a sixth overall Academy Award nomination, her fifth for Best Actress.

Burstyn continued to juggle film and television projects. She had a recurring role on the cable hit Big Love and earned an Emmy Award in 2009 for her guest appearance on the crime drama Law & Order: SVU. On the big screen, Burstyn has enjoyed roles in such films as Main Street (2010) and Another Happy Day (2011).

In recent years, Burstyn has thrived on the small screen. She appeared in the 2012 television miniseries Political Animals with Sigourney Weaver and Carla Gugino. She won an Emmy Award for her work on the miniseries the following year. In 2014, Burstyn had a supporting role in the television movie Flowers in the Attic, based on the novel by V.C. Andrews. Her unsettling turn as a disturbed grandmother netted her an Emmy Award nomination. That same year, Burstyn had a recurring role on the sitcom Louie.

Burstyn has been married and divorced three times – to poet William C. Alexander (1950-55), director Paul Roberts (1957-59), and actor Neil Burstyn (1960-1971). She and Neil Burstyn adopted a son, Jefferson. Burstyn serves as the co-president of the Actors Studio alongside Harvey Keitel and Al Pacino. She is also the artistic director for the studio’s New York location.

AWARDS
Oscar for Best Actress 1975 for Alice Doesn’t Live Here Anymore
Golden Globe 1979 for Same Time, Next Year
Tony 1975 for Same Time, Next Year
Actors’ Equity Association President (1982-85)
Jefferson Awards Board of Selectors
Obama for America
Abortion (Mar-1950)
Raped by husband Neil
Tonsillectomy
Irish Ancestry Maternal
Risk Factors: Vegetarian, Psilocybin, Marijuana, Yoga, Tuberculosis

TELEVISION
Big Love Nancy Davis Dutton (2007-11)
The Book of Daniel Dr. Beatrice Congreve (2006)
That’s Life Dolly DeLucca (2000-02)
The Ellen Burstyn Show Ellen Brewer (1986-87)
The Iron Horse Julie Parsons (1966-67)

FILMOGRAPHY AS ACTOR
Interstellar (26-Oct-2014)
The Calling (5-Aug-2014)
Draft Day (11-Apr-2014)
Someday This Pain Will Be Useful to You (2-Nov-2011)
Another Happy Day (23-Jan-2011)
Main Street (21-Oct-2010)
The Mighty Macs (17-Oct-2009)
According to Greta (13-May-2009) · Katherine
PoliWood (1-May-2009) · Herself
The Velveteen Rabbit (27-Feb-2009) · Swan
W. (16-Oct-2008)
The Loss of a Teardrop Diamond (12-Sep-2008) · Addie
Lovely, Still (5-Sep-2008) · Mary Malone
For One More Day (9-Dec-2007)
The Stone Angel (12-Sep-2007) · Hagar
The Fountain (4-Sep-2006) · Dr. Lillian Guzetti
The Wicker Man (31-Aug-2006)
Mrs. Harris (16-Sep-2005)
Our Fathers (11-May-2005)
The Five People You Meet in Heaven (5-Dec-2004)
Brush with Fate (2-Feb-2003)
A Decade Under the Influence (19-Jan-2003) · Herself
Easy Riders, Raging Bulls (18-Jan-2003) · Herself
Divine Secrets of the Ya-Ya Sisterhood (3-Jun-2002) · Vivi
Dodson’s Journey (10-Jan-2001)
Mermaid (21-May-2000)
Requiem for a Dream (14-May-2000) · Sara Goldfarb
The Yards (27-Apr-2000) · Val Handler
Walking Across Egypt (17-Dec-1999)
You Can Thank Me Later (23-May-1999)
Night Ride Home (7-Feb-1999)
Playing by Heart (30-Dec-1998)
The Patron Saint of Liars (5-Apr-1998)
Flash (21-Dec-1997)
Deceiver (31-Aug-1997) · Mook
A Deadly Vision (21-Apr-1997)
Timepiece (22-Dec-1996)
Our Son, the Matchmaker (8-May-1996)
The Spitfire Grill (24-Jan-1996) · Hannah Ferguson
How to Make an American Quilt (6-Oct-1995) · Hy
The Baby-Sitters Club (18-Aug-1995)
Roommates (3-Mar-1995)
Getting Gotti (10-May-1994)
When a Man Loves a Woman (29-Apr-1994) · Emily
The Color of Evening (1994)
The Cemetery Club (3-Feb-1993)
Grand Isle (9-Sep-1991)
Picture This: The Times of Peter Bogdanovich in Archer City, Texas (7-Sep-1991) · Herself
Dying Young (21-Jun-1991) · Mrs. O’Neil
When You Remember Me (7-Oct-1990)
Hanna’s War (11-Nov-1988)
Dear America: Letters Home from Vietnam (Oct-1987) [VOICE]
Act of Vengeance (21-Apr-1986)
Into Thin Air (29-Oct-1985)
Twice in a Lifetime (9-Sep-1985)
Surviving (10-Feb-1985)
The Ambassador (23-May-1984)
Silence of the North (23-Oct-1981)
Resurrection (6-Sep-1980) · Edna
Same Time, Next Year (22-Nov-1978) · Doris
A Dream of Passion (Aug-1978)
Providence (25-Jan-1977)
Alice Doesn’t Live Here Anymore (9-Dec-1974) · Alice Hyatt
Harry and Tonto (12-Aug-1974) · Shirley
Thursday’s Game (14-Apr-1974)
The Exorcist (26-Dec-1973) · Chris MacNeil
The King of Marvin Gardens (12-Oct-1972) · Sally
The Last Picture Show (3-Oct-1971) · Lois Farrow
Alex in Wonderland (17-Dec-1970)
Pit Stop (14-May-1969)
Goodbye Charlie (18-Nov-1964)
For Those Who Think Young (Jun-1964) · Dr. Pauline Thayer

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 Hedy Lamarr

This week is the 100h birthday of achingly beautiful actress, brilliant scientist, author and compulsive shoplifter Hedy Lamarr.  She was married six times and slept with Hitler (so says a biographer).  She is an amazing example of everyone’s ability to have many interests and explore all of them.  The world is a better place because she was in it and still feels the loss that she has left.

NAME: Hedy Lamarr
OCCUPATION: Film Actor, Pin-up
BIRTH DATE: November 09, 1913
DEATH DATE: January 19, 2000
PLACE OF BIRTH: Vienna, Austria
PLACE OF DEATH: Orlando, Florida
ORIGINALLY: Hedwig Eva Maria Kiesler

BEST KNOWN FOR: Extraordinarily beautiful, Hedy Lamarr was a Austrian-American actress during MGM’s “Golden Age.”

Actress. Born Hedwig Eva Maria Kiesler, on November 9, 1913, in Vienna, Austria. Discovered by an Austrian film director as a teenager, she gained international notice in 1933, with her role in the sexy Czech film Ecstasy. After her marriage with Fritz Mandl, a wealthy Austrian munitions manufacturer, ended, she signed a contract with the Metro-Goldwyn-Mayer studio and began her career in Hollywood as Hedy Lamarr. Upon the release of her first American film, Algiers, co-starring Charles Boyer, Lamarr became an immediate box-office sensation.

Often referred to as one of the most gorgeous and exotic of Hollywood’s leading ladies, Lamarr made a number of well-received films during the 1930s and 1940s. Notable among them were Lady of the Tropics (1939), co-starring Robert Taylor; Boom Town (1940), with Clark Gable and Spencer Tracy; Tortilla Flat (1942), co-starring Tracy; and Samson and Delilah (1949), opposite Victor Mature. She was reportedly producer Hal Wallis’ first choice for the heroine in his classic 1943 film, Casablanca, a part that eventually went to Ingrid Bergman.

In 1942, during the heyday of her career, Lamarr earned recognition in a field quite different from entertainment. She and her friend, the composer George Antheil, received a patent for an idea of a radio signaling device, or “Secret Communications System,” that later became an important step in the development of technology to maintain the security of both military communications and cellular phones.

Lamarr’s film career began to decline in the 1950s; her last film was 1958’s The Female Animal, with Jane Powell. In 1966, she published a steamy best-selling autobiography, Ecstasy and Me, but later sued the publisher for what she saw as errors and distortions perpetrated by the book’s ghostwriter. She was arrested twice for shoplifting, once in 1966 and once in 1991, but neither arrest resulted in a conviction.

Lamarr was married six times and had two children, Anthony and Denise, with her third husband, the actor John Loder. She also adopted a son, James. In the later years of her life, Lamarr lived quietly in Orlando, Florida. She died on January 19, 2000, at the age of 86.

For her contribution to the motion picture industry, Hedy Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Blvd.

In 2003, the Boeing corporation ran a series of recruitment ads featuring Hedy Lamarr as a woman of science. No reference to her film career was made in the ads.

Personal Quotes

“My problem is, I’m a hell of a nice dame, The most horrible whores are famous. I did what I did for love. The others did it for money.”

“Any girl can be glamorous. All you have to do is stand still and look stupid.”

FILMOGRAPHY AS ACTOR

The Female Animal (22-Jan-1958)
The Story of Mankind (8-Nov-1957) · Joan of Arc
My Favorite Spy (17-Dec-1951) · Lily Dalbray
Copper Canyon (22-Sep-1950)
A Lady Without Passport (3-Aug-1950) · Marianne Lorress
Samson and Delilah (31-Oct-1949) · Delilah
Let’s Live a Little (9-Dec-1948)
Dishonored Lady (16-May-1947) · Madeleine Damien
The Strange Woman (25-Oct-1946)
Her Highness and the Bellboy (11-Jul-1945) · Princess Veronica
Experiment Perilous (18-Dec-1944) · Allida Bederaux
The Conspirators (17-Oct-1944) · Irene Von Mohr
The Heavenly Body (29-Dec-1943) · Vicky Whitley
Crossroads (23-Jul-1942) · Lucienne Talbot
Tortilla Flat (21-May-1942) · Dolores Sweets Ramirez
White Cargo (1942) · Tondelayo
H.M. Pulham, Esq. (3-Dec-1941) · Marvin Myles
Ziegfeld Girl (25-Apr-1941) · Sandra Kolter
Come Live With Me (29-Jan-1941) · Johnny Jones
Comrade X (13-Dec-1940) · Theodore
Boom Town (30-Aug-1940) · Karen Vanmeer
I Take This Woman (2-Feb-1940) · Georgi Gragore
Lady of the Tropics (11-Aug-1939) · Manon DeVargnes
Algiers (28-Jun-1938) · Gaby
Ecstasy (20-Jan-1933)

Happy Birthday Celia Cruz

Today is the 89th birthday of Celia Cruz.  She is EVERYTHING.  Watch all the videos below and keep a little Celia in your life at all times.

celia cruz

NAME: Celia Cruz
OCCUPATION: Singer
BIRTH DATE: October 21, 1925
DEATH DATE: July 16, 2003
PLACE OF BIRTH: Havana, Cuba
PLACE OF DEATH: New Jersey

BEST KNOWN FOR: Celia Cruz was a Cuban-American singer, best known as one of the most popular salsa performers of all time, recording 23 gold albums.

Celia Cruz grew up in the poor Havana neighborhood of Santos Suárez, where Cuba‘s diverse musical climate became a growing influence. In the 1940s, Cruz won a “La hora del té” (“Tea Time”) singing contest, propelling her into a music career. While Cruz’s mother encouraged her to enter other contests around Cuba, her more traditional father had other plans for her, encouraging her to become a teacher—a common occupation for Cuban women at that time.

Cruz enrolled at the National Teachers’ College, but dropped out soon after, since her live and radio performances around were gaining acclaim. Tempering her own growing ambitions with her father’s wish for her to stay in school, she enrolled at Havana’s National Conservatory of Music. However, instead of finding reasons for continuing on the academic track, one of Cruz’s professors convinced her that she should pursue a full-time singing career.

Cruz’s first recordings were made in 1948. In 1950, her singing career started its upward journey to stardom when she began singing with celebrated Cuban orchestra Sonora Matancera. Initially, there were doubts that Cruz could successfully replace the previous lead singer and that a woman could sell salsa records at all. However, Cruz helped propel the group—and Latin music in general—to new heights, and the band toured widely through Central and North America throughout the 1950s.


At the time of the 1959 Communist takeover of Cuba, Sonora Matancera was touring in Mexico, and members of the band decided to leave Cuba for good, crossing into the United States instead of returning to their homeland. Cruz became a U.S. citizen in 1961, and Fidel Castro, enraged by Cruz’s defection, barred her from returning to Cuba.

Cruz remained relatively unknown in the United States beyond the Cuban exile community initially, but when she joined the Tito Puente Orchestra in the mid–1960s, she gained exposure to a wide audience. Puente had a large following across Latin America, and as the new face of the band, Cruz became a dynamic focus for the group, reaching a new fan base. On stage, Cruz enthralled audiences with her flamboyant attire and crowd engagement—traits that bolstered her 40-year singing career.

With her seemingly unfaltering vocals, Cruz continued performing live and recording albums throughout the 1970s and 1980s, and beyond. In that time, she made more than 75 records, including nearly 20 that went gold, and won several Grammys and Latin Grammys. She also appeared in several movies, earned a star on Hollywood’s Walk of Fame, and was awarded the American National Medal of the Arts by the National Endowment of the Arts.

Cruz died in New Jersey on July 16, 2003, at the age of 77.

FILMOGRAPHY AS ACTOR
The Perez Family (12-May-1995) · Luz Paz
The Mambo Kings (28-Feb-1992)
Fires Within (28-Jun-1991) · Herself
Salsa (7-May-1988) · Herself
Affair in Havana (1-Oct-1957)

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 Paul Muni

Today is the 119th birthday of Paul Muni.  He has probably one of the best ‘before’ names in Hollywood History.

NAME: Paul Muni
OCCUPATION: Film Actor, Television Actor
BIRTH DATE: September 22, 1895
DEATH DATE: August 25, 1967
PLACE OF BIRTH: Lviv, Poland
PLACE OF DEATH: Montecito, California
ORIGINALLY: Meshilem Meier Weisenfreund

BEST KNOWN FOR: American actor Paul Muni is best known for his film and stage portrayals of noted historical figures. He was nominated five times for the Academy Awards.

Paul Muni was born on September 22nd, 1895 in Lenberg, Galicia in Austria-Hungary with the birth name Meshilem Meier Weisenfreund to parents Salli and Phillip Weisenfreund, both of whom were actors.

His family moved to the United States in 1902, where he attended school in the public school system in Cleveland and in New York. At the young age of twelve he worked on a stage production of, Seven Faces where he portrayed an eighty year old man and played seven different characters.

When he completed high school he joined the Yiddish Art Theatre in New York and studied there for four years. He then went on to work on Yiddish stage plays making his stage debut in 1907. It was not until 1926 that he transferred over to doing American stage plays having his first English language role. In 1928, he was discovered by Fox.

His first screen role in English was on the film, The Valiant (1929) also with Marguerite Churchill and Johnny Mack Brown, in which he was one of only six actors total to receive an Academy Award nomination for Best Actor for his first screen appearance. However, this film along with his next were both unsuccessful box office films and therefore, Muni returned back to Broadway to work on stage on the play, Counselor at Law.

In 1932, Muni decided to give films another chance and went back to Hollywood working on two films, Scarface also starring George Raft, Ann Dvorak, Tully Marshall and Boris Karloff and I Am a Fugitive from a Chain Gang (both 1932) starring with Glenda Farrell, Preston Foster and Sally Blane in which for the latter role he received his second Academy Award nomination for Best Actor.

He was soon signed to a long contract with Warner Brothers studios who were so highly impressed with his talents. He became one of their most prestigious actors. They actually allowed him to choose which parts he wanted in various films.

Muni had such an influential impact on Warner Brothers that in 1935, they agreed to produce a historical biography called, The Story of Louis Pasteur (1936) also starring Anita Louise, Akim Tamiroff, Dickie Moore, Donald Woods and Josephine Hutchinson, which was his idea, a huge success and earned Mini an Oscar for his performance.

During the late 30’s and early 40’s, Muni took on a couple more roles in films such as, The Good Earth (1937) also starring Academy Award winner for Best Actress Luise Rainer, A Song to Remember (1945) also starring Cornel Wilde, Merle Oberon and Nina Foch and Angel on My Shoulder (1946) co-starring Anne Baxter and Claude Rains. He was really beginning to fade himself out of the film industry as he was quite dissatisfied with Hollywood.

He focused the remainder of his career working back as a stage actor and won a Tony Award for Best Performance by a Leading Actor in a Play for his role in Inherit the Wind (1956).

Muni retired from acting not by choice, but more due to failing health reasons after his final appearance in, The Last Angry Man (1959) starring alongside David Wayne, Betsy Palmer, Billy Dee Williams and Godfrey Cambridge in which he received an Oscar nomination for. He suffered throughout his entire life from a rheumatic heart.

Muni was married only once to Bella Muni on May 8th, 1921 and they remained together until he passed away on August 25th, 1967 in Montecito, California from heart problems at the age of seventy one. He is interred at Hollywood Memorial Cemetery in Hollywood, California and was honored with a star on the Hollywood Walk of Fame for his contribution to the Motion Picture Industry.

FILMOGRAPHY AS ACTOR
The Last Angry Man (22-Oct-1959) · Dr. Sam Abelman
Stranger on the Prowl (12-Mar-1952)
Angel on My Shoulder (20-Sep-1946) · Eddie Kagle
Counter-Attack (26-Apr-1945)
A Song to Remember (18-Jan-1945) · Prof. Joseph Elsner
Stage Door Canteen (24-Jun-1943) · Himself
Commandos Strike at Dawn (30-Dec-1942) · Eric Toresen
Hudson’s Bay (9-Jan-1941) · Pierre Esprit Radisson
We Are Not Alone (25-Nov-1939)
Juarez (24-Apr-1939) · Benito Juarez
The Life of Emile Zola (11-Aug-1937) · Émile Zola
The Woman I Love (15-Apr-1937)
The Good Earth (29-Jan-1937) · Wang
The Story of Louis Pasteur (23-Nov-1935) · Louis Pasteur
Dr. Socrates (19-Oct-1935)
Black Fury (18-May-1935) · Joe Radek
Bordertown (23-Jan-1935)
Hi, Nellie! (20-Jan-1934)
The World Changes (25-Nov-1933)
I Am a Fugitive From a Chain Gang (19-Nov-1932) · James Allen
Scarface (31-Mar-1932) · Tony
The Valiant (12-May-1929) · James Dyke

Happy Birthday Yvonne DeCarlo

Today is the 92nd birthday of Yvonne DeCarlo.  Reinvention.  I love it.  There are risks and challenges, but also great rewards.  One being the confusion of others.  It is not only in Hollywood that people get typecast.  People love to attach quick descriptors to people, to categorize them for easy processing.  When you do something that appears to be out of character, it messes with people’s heads and is brilliant.  Moses’ mother and Lilly Munster?  What?  That is the same women?

NAME: Yvonne DeCarlo
OCCUPATION: Film Actress, Television Actress, Pin-up
BIRTH DATE: September 01, 1922
DEATH DATE: January 08, 2007
PLACE OF BIRTH: Point Gray, Canada
PLACE OF DEATH: Woodland Hills, California

BEST KNOWN FOR: Actress Yvonne DeCarlo was Moses’ wife in DeMille’s The Ten Commandments, but is better known for playing the matriarch on TV’s The Munsters.

Yvonne De Carlo (September 1, 1922 – January 8, 2007) was a Canadian-born American actress of film and television. During her six-decade career, her most frequent appearances in film came in the 1940s and 1950s and included her best-known film roles, such as of Anna Marie in Salome Where She Danced (1945); Anna in Criss Cross (1949); Sephora the wife of Moses in The Ten Commandments (1956), starring Charlton Heston; and Amantha Starr in Band of Angels (1957) with Clark Gable. In the early 1960s, De Carlo accepted the offer to play Lily Munster for the CBS television series The Munsters, alongside Fred Gwynne and Al Lewis.

For her contribution to the motion picture industry, Yvonne De Carlo was honored with a star on the Hollywood Walk of Fame at 6124 Hollywood Blvd. and a second star at 6715 Hollywood Blvd. for her contribution to television.

The year 1964 was a rocky one for De Carlo, as she was deeply in debt. After having worked for over 30 years, her film career came to a sudden end, and she was suffering from depression. She signed a contract with Universal Studios after receiving an offer to perform the female lead role in The Munsters opposite Fred Gwynne as Herman Munster. She was also the producers’ choice to play Lily Munster when Joan Marshall, who played Phoebe, was dropped from consideration for the role. When De Carlo was asked how a glamorous actress could succeed as a ghoulish matriarch of a haunted house, she replied simply, “I follow the directions I received on the first day of shooting: ‘Play her just like Donna Reed.’

In her autobiography, published in 1987, she listed 22 intimate friends, including Prince Aly Khan, Billy Wilder, Burt Lancaster, Howard Hughes, Robert Stack and Robert Taylor.