Edmond O’Brien

Edmond O’Brien (September 10, 1915 – May 9, 1985) was an American actor who appeared in more than 100 films from the 1940s to the 1970s, often playing character parts. He received the Academy Award for Best Supporting Actor and the corresponding Golden Globe for his supporting role in The Barefoot Contessa (1954), as well as a second Golden Globe and another Academy Award nomination for Seven Days in May (1964). His other notable films include The Hunchback of Notre Dame (1939), The Killers (1946), White Heat (1949), D.O.A. (1950), Julius Caesar (1953), 1984 (1956), The Girl Can’t Help It (1956), The Man Who Shot Liberty Valance (1961), and The Wild Bunch (1969).

 

Early years

O’Brien was born Eamon Joseph O’Brien in Brooklyn, New York, of English and Irish stock, the seventh and last child of Agnes and James O’Brien. When he was four years old, O’Brien’s father died.

He put on magic shows for children in his neighborhood with coaching from a neighbor, Harry Houdini. He performed under the title, “Neirbo the Great” (“neirbo” being “O’Brien” spelled backwards). An aunt who taught high school English and speech took him to the theatre from an early age and he developed an interest in acting. O’Brien began acting in plays at school.

After attending Fordham University for six months, he went to Neighborhood Playhouse School of the Theatre on a scholarship. He studied for two years under such teachers as Sanford Meisner; his classmates included Betty Garrett.

“It was simply the best training in the world for a young actor, singer or dancer,” said O’Brien. “What these teachers encouraged above all was getting your tools ready – your body, your voice, your speech.”

In addition to studying at the Playhouse, O’Brien took classes with the Columbia Laboratory Players group, which emphasized training in Shakespeare.

 

Theatre

O’Brien began working in summer stock in Yonkers. He made his first Broadway appearance at age 21 in Daughters of Atreus.

He played a grave digger in Hamlet, went on tour with Parnell, then appeared in Maxwell Anderson’s The Star Wagon, starring Lillian Gish and Burgess Meredith.

 

Film Actor

O’Brien’s theatre work attracted the attention of Pandro Berman at RKO, who offered him a role as the romantic lead in The Hunchback of Notre Dame (1939).

He returned to Broadway to play Mercutio opposite Laurence Olivier and Vivien Leigh in Romeo and Juliet.

RKO offered O’Brien a long term contract. His roles included A Girl, a Guy, and a Gob (1941) and Parachute Battalion (1941). The latter starred Nancy Kelly who O’Brien would later marry, although the union lasted less than a year.

O’Brien made Obliging Young Lady with Eve Arden, and Powder Town. He was loaned to Universal to appear opposite Deanna Durbin in The Amazing Mrs. Holliday (1943), after which he joined the armed services.

 

World War II

During World War II, O’Brien served in the U.S. Army Air Force and appeared in the Air Forces’ Broadway play Winged Victory by Moss Hart. He appeared alongside Red Buttons, Karl Malden, Kevin McCarthy, Gary Merrill, Barry Nelson and Martin Ritt. When the play was filmed in 1944, O’Brien reprised his stage performance, co-starring with Judy Holliday. He toured in the production for two years, appearing alongside a young Mario Lanza.

 

Warner Bros

In 1948, O’Brien signed a long term contract with Warner Bros, who cast him in the screen version of Lillian Hellman‘s Another Part of the Forest. This starred Fredric March who also appeared with O’Brien in An Act of Murder (1948).

He was then cast as the undercover cop in White Heat (1949) opposite James Cagney.

“He [Cagney] said he had only one rule,” O’Brien noted. “He would tap his heart and he would say, “Play it from here, kid.” He always did and I believe it’s the best rule for any performer. He could play a scene 90 ways and never repeat himself. He did this to keep himself fresh. I try to do this whenever possible.”

In 1949, 3,147 members of the Young Women’s League of America, a national charitable organization of spinsters, voted that O’Brien had more “male magnetism” than any other man in America today. “All women adore ruggedness,” said organization president Shirley Connolly. “Edmund O’Brien’s magnetic appearance and personality most fully stir women’s imaginative impulses. We’re all agreed that he has more male magnetism than any of the 60,000,000 men in the United States today. (Runners up were Ezio Pinza, William O’Dwyer and Doak Walker.)

Following an appearance in Backfire (1950) his contract with Warner Bros terminated.

 

Freelance

O’Brien then made one of his most famous movies, D.O.A. (1950 film), where he plays a man investigating his own murder. He followed this with 711 Ocean Drive (1950). However, his career then hit a slump. According to TCM, “In the early ’50s, O’Brien started struggling with his weight, which could change significantly between films. He had no problems if that relegated him to character roles, but for a few years, it was hard to come by anything really first rate.”

“The funny thing about Hollywood is that they are interested in having you do one thing and do it well and do it ever after,” said O’Brien. “That’s the sad thing about being a leading man – while the rewards may be great in fame and finances, it becomes monotonous for an actor. I think that’s why some of the people who are continually playing themselves are not happy.”

He made some notable movies including two for Ida Lupino, The Hitch-Hiker and The Bigamist. He also played Casca in Joseph L. Mankiewicz‘s film of Julius Caesar (1953).

O’Brien worked heavily in television on such shows as Pulitzer Prize Playhouse, Lux Video Theatre and Schlitz Playhouse of Stars. He announced plans to direct his own films.

In 1951 he was in a well publicized brawl with Serge Rubinstein at a cafe.

From 1950 to 1952, O’Brien starred in the radio drama Yours Truly, Johnny Dollar, playing the title role. His other work in radio included Philip Morris Playhouse on Broadway.

O’Brien was cast as press agent Oscar Muldoon in The Barefoot Contessa. He won a Best Supporting Actor Oscar for that role.

 

O’Brien followed this with a number of important roles, including Pete Kelly’s Blues, 1984, A Cry in the Night (1956), and The Girl Can’t Help It.

TV

O’Brien appeared extensively in television, including the 1957 live 90-minute broadcast on Playhouse 90 of The Comedian, a drama written by Rod Serling and directed by John Frankenheimer in which Mickey Rooney portrayed a television comedian while O’Brien played a writer driven to the brink of insanity.

In 1958 he directed and starred in a TV drama written by his brother, “The Town That Slept With the Lights On,” about two Lancaster murders that so frightened the community that residents began sleeping with their lights on.

From 1959–60 O’Brien portrayed the title role in the syndicated crime drama Johnny Midnight, the story of a New York City actor-turned-private detective. The producers refused to cast him unless he shed at least 50 pounds, so he went on a crash vegetarian diet and quit drinking.

“I seldom get very far away from crime,” he recalled. I’ve found it pays . . . I tried non-crime films like Another Part of the Forest . . . good picture, good cast, but no good at the box office . . . But you just put a gun in your hands and run through the streets during cops and robbers and you’re all set.”

O’Brien also had his own production company, O’Brien-Frazen.

O’Brien had roles on many television series, including an appearance on Target: The Corruptors!, The Eleventh Hour, Breaking Point and Mission: Impossible.

O’Brien walked off the set of The Last Voyage in protest at safety issues during the shoot. He later came back and found out he had been written out of the film. He was cast as a reporter in Lawrence of Arabia (1962) but had a heart attack during filming and was replaced by Arthur Kennedy.

O’Brien recovered to direct his first feature, Man Trap (1961).

He continued to receive good roles: The Man Who Shot Liberty Valance (1962) and The Birdman of Alcatraz (1962).

In the mid-’60s O’Brien co-starred with Roger Mobley and Harvey Korman in the “Gallegher” episodes of NBC‘s Walt Disney’s Wonderful World of Color. From 1963–65 he co-starred in the NBC legal drama Sam Benedict.

O’Brien had a choice role in Seven Days in May (1964) which saw him receive a second Oscar nomination.

“I’ve never made any kind of personality success,” he admitted in a 1963 interview. “People never say ‘that’s an Eddie O’Brien part.’ They say, ‘That’s a part Eddie O’Brien can play.’

“I’d like to be able to say something important,” he added. “To say something to people about their relationship with each other. If it touches just one guy, helps illustrate some points of view about living, then you’ve accomplished something.”

He had a role in another TV series, The Long Hot Summer but left after 12 episodes due to creative differences. He was replaced by Dan O’Herlihy.

 

Later career

O’Brien worked steadily throughout the late 1960s and early 1970s. However, his memory problems were beginning to take their toll. A heart attack meant he had to drop out of The Glass Bottom Boat.

“It would be awfully hard to do a series again,” he said in a 1971 interview. “I wouldn’t go for an hour show again. They don’t have much of a chance against the movies.”

In 1971 he was hospitalized with a “slight pulmonary condition.”

His last film would be 99 and 44/100% Dead.

 

Recording

In 1957 O’Brien recorded a spoken-word album of The Red Badge of Courage (Caedmon TC 1040). Billboard said, “Edmond O’Brien brings intensity in the narrative portions and successfully impersonates the varied characters in dialog.”

 

Personal life

O’Brien was divorced from actresses Nancy Kelly 1941–1942 and Olga San Juan. San Juan was the mother of his three children, including television producer Bridget O’Brien and actors Maria O’Brien and Brendan O’Brien.

 

Final Years and Death

O’Brien fell ill with Alzheimer’s Disease. In a 1983 interview, his daughter Maria remembers seeing her father in a straitjacket at a Veterans’ Hospital.

“He was screaming. He was violent. I remember noticing how thin he’d gotten. We didn’t know, because for years he’d been sleeping with all his clothes on. We saw him a little later and he was walking around like all the other lost souls there.”

He died May 9, 1985, at St. Erne’s Sanitorium in Inglewood, California, of Alzheimer’s disease. He was survived by his wife and three children.

Walk of Fame

For his contribution to the motion picture industry, Edmond O’Brien has a star on the Hollywood Walk of Fame at 1725 Vine Street, and a second star at 6523 Hollywood Blvd. for his contribution to the television industry. Both were dedicated on February 8, 1960.

 

 

Olivia de Havilland

 Olivia Mary de Havilland (born July 1, 1916; age 101) is a retired American actress whose career spanned from 1935 to 1988. She appeared in 49 feature films, and was one of the leading movie stars during the golden age of Classical Hollywood. She is best known for her early screen performances in The Adventures of Robin Hood (1938) and Gone with the Wind (1939), and her later award-winning performances in To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949).

Born in Tokyo to British parents, de Havilland and her younger sister Joan moved to California in 1919. They were brought up by their mother Lilian, a former stage actress who taught them dramatic art, music, and elocution. De Havilland made her acting debut in amateur theatre in Alice in Wonderland. Later, she appeared in a local production of Shakespeare’s A Midsummer Night’s Dream, which led to her playing Hermia in Max Reinhardt’s stage production of the same play and a movie contract with Warner Bros.

Olivia de Havilland made her screen debut in Reinhardt’s A Midsummer Night’s Dream in 1935. She began her career playing demure ingénues opposite popular leading men, including Errol Flynn, with whom she made nine films. They became one of Hollywood’s most popular romantic on-screen pairings. She achieved her initial popularity in romantic comedy films, such as The Great Garrick (1937), and in Westerns, such as Dodge City (1939). Her natural beauty and refined acting style made her particularly effective in historical period dramas, such as Anthony Adverse (1936), and romantic dramas, such as Hold Back the Dawn (1941). In her later career, she was most successful in drama films, such as Light in the Piazza (1962), and unglamorous roles in psychological dramas including Hush… Hush, Sweet Charlotte (1964).

In addition to her film career, de Havilland continued her work in the theatre, appearing three times on Broadway, in Romeo and Juliet (1951), Candida (1952), and A Gift of Time (1962). She also worked in television, appearing in the successful miniseries, Roots: The Next Generations (1979), and television feature films, such as Anastasia: The Mystery of Anna, for which she received a Primetime Emmy Award nomination. During her film career, de Havilland won two Academy Awards, two Golden Globe Awards, two New York Film Critics Circle Awards, the National Board of Review Award for Best Actress, and the Venice Film Festival Volpi Cup. For her contributions to the motion picture industry, she received a star on the Hollywood Walk of Fame. For her lifetime contribution to the arts, she received the National Medal of Arts from President George W. Bush, and was appointed a Chevalier of the Légion d’honneur by French President Nicolas Sarkozy.

After romantic relationships with Howard Hughes, James Stewart, and John Huston, de Havilland married author Marcus Goodrich, with whom she had a son, Benjamin. Following her divorce from Goodrich in 1953, she moved to Paris and married Pierre Galante, an executive editor for the French journal Paris Match, with whom she had a daughter, Gisèle. In 1962, she published Every Frenchman Has One, an account of her life in France. De Havilland and Joan Fontaine are the only siblings to have won Academy Awards in a lead acting category. A lifelong rivalry between the two actresses resulted in an estrangement that lasted over three decades. She has lived in Paris since 1956, and celebrated her 100th birthday on July 1, 2016.

 

Early life

De Havilland’s father, Walter de Havilland (1872 – 1968), served as an English professor at the Imperial University in Tokyo before becoming a patent attorney. Her mother, Lilian Fontaine (née Ruse; 1886 – 1975), was educated at the Royal Academy of Dramatic Art in London and became a stage actress. Lilian also sang with the Master of the King’s Music, Sir Walter Parratt, and toured England with the composer Ralph Vaughan Williams. Olivia’s paternal cousin was Sir Geoffrey de Havilland (1882–1965), an aircraft designer and founder of the de Havilland aircraft company.

Lilian and Walter met in Japan in 1913 and were married the following year; the marriage was not a happy one due in part to Walter’s infidelities. De Havilland was born on July 1, 1916. They moved into a large house in Tokyo, where Lilian gave informal singing recitals for the European colony. Olivia’s younger sister Joan (born Joan de Beauvoir de Havilland)‍—‌later known as actress Joan Fontaine‍—‌was born fifteen months later, on October 22, 1917.

In February 1919, Lilian persuaded her husband to take the family back to England to a climate better suited for their ailing daughters. They sailed aboard the SS Siberia Maru to San Francisco, where the family stopped to treat Olivia’s tonsillitis. After Joan developed pneumonia, Lilian decided to remain with her daughters in California, where they eventually settled in the village of Saratoga, 50 miles (80 km) south of San Francisco. Her father abandoned the family and returned to his Japanese housekeeper, who eventually became his second wife.

Olivia was raised to appreciate the arts, beginning with ballet lessons at the age of four, and piano lessons a year later. She learned to read before she was six, and her mother, who occasionally taught dramatic art, music, and elocution, had her reciting passages from Shakespeare to strengthen her diction. During this period, her younger sister Joan first started calling her “Livvie,” a nickname that would last throughout her life. De Havilland entered Saratoga Grammar School in 1922 and did well in her studies. She enjoyed reading, writing poetry, and drawing, and once represented her grammar school in a county spelling bee, coming in second place. In 1923, Lilian had a new Tudor-style house built, where the family resided until the early 1930s.

In April 1925, after her divorce was finalized, Lilian married George Milan Fontaine, a department store manager for O. A. Hale & Co. in San Jose. Fontaine was a good provider and respectable businessman, but his strict parenting style generated animosity and later rebellion in both of his new stepdaughters.

De Havilland continued her education at Los Gatos High School, near her home in Saratoga. There, she excelled in oratory and field hockey and participated in school plays and the school drama club, eventually becoming the club’s secretary. With plans of becoming a schoolteacher of English and speech, she also attended Notre Dame Convent in Belmont. In 1933, de Havilland made her debut in amateur theatre in Alice in Wonderland, a production of the Saratoga Community Players based on the novel by Lewis Carroll. She also appeared in several school plays, including The Merchant of Venice and Hansel and Gretel. Her passion for drama eventually led to a confrontation with her stepfather, who forbade her from participating in further extracurricular activities. When he learned that she had won the lead role of Elizabeth Bennet in a school fund-raising production of Jane Austen‘s Pride and Prejudice, he gave her an ultimatum to either stay home or not return home. Not wanting to let her school and classmates down, she left home forever, moving in with a family friend.

After graduating from high school in 1934, de Havilland was offered a scholarship to Mills College in Oakland to pursue her chosen career as an English teacher. She was also offered the role of Puck in the Saratoga Community Theater production of Shakespeare’s A Midsummer Night’s Dream. That summer, Austrian director Max Reinhardt came to California for a major new production of the same play to premiere at the Hollywood Bowl. After one of Reinhardt’s assistants saw her perform in Saratoga, he offered her the second understudy position for the role of Hermia. One week before the premiere, the understudy Jean Rouverol and lead actress Gloria Stuart both left the project, leaving 18-year-old de Havilland to play Hermia. Impressed with her performance, Reinhardt offered her the part in the four-week autumn tour that followed. During that tour, Reinhardt received word that he would direct the Warner Bros. film version of his stage production, and he offered her the film role of Hermia. With her mind still set on becoming a teacher, de Havilland initially wavered, but eventually Reinhardt and executive producer Henry Blanke persuaded her to sign a five-year contract with Warner Bros. on November 12, 1934, with a starting salary of $200 a week.

 

Career

Early films, 1935–37

De Havilland made her screen debut in Reinhardt’s A Midsummer Night’s Dream, which was filmed at Warner Bros. studios from December 19, 1934, to March 9, 1935. During the production, de Havilland picked up film acting techniques from the film’s co-director William Dieterle, and camera techniques from cinematographer Hal Mohr, who was impressed with her questions about his work. By the end of filming, she had learned the effect of lighting and camera angles on how she appeared on screen and how to find her best lighting.

Following premieres in New York and Beverly Hills, the film was released on October 30, 1935. Despite the publicity campaign, the film generated little enthusiasm with audiences. While the critical response was mixed, de Havilland’s performance was praised by The San Francisco Examiner critic. In his review in the Brooklyn Daily Eagle, Winston Burdett noted that she “acts graciously and does greater justice to Shakespeare’s language than anyone else in the cast.” Two minor comedies followed, Alibi Ike with Joe E. Brown and The Irish in Us with James Cagney. In both films, she played the sweet and charming love interest‍—‌a role into which she would later become typecast. After the experience of being a Reinhardt player, de Havilland felt disappointed being assigned these routine heroine roles. In March, de Havilland and her mother moved into an apartment at the Chateau des Fleurs at 6626 Franklin Avenue in Hollywood.

In July 1935, Warner Bros. paired de Havilland with an unknown Australian actor named Errol Flynn in the swashbuckler film Captain Blood (1935). According to film historian Tony Thomas, both actors had “classic good looks, cultured speaking voices, and a sense of distant aristocracy about them.” Filmed between August 5 and October 29, 1935, Captain Blood gave de Havilland the opportunity to appear in her first costumed historical romance and adventure epic, a genre to which she was well suited, given her beauty and elegance. In the film, she played Arabella Bishop, the niece of a Jamaica plantation owner, who purchases at auction an Irish physician wrongly condemned to servitude. The on-screen chemistry between de Havilland and Flynn was evident from their first scenes together, where clashes between her character’s spirited hauteur and his character’s playful braggadocio did not mask their mutual attraction to each other. Unlike her two previous roles, Arabella is a feisty young woman who knows what she wants and is willing to fight for it. The bantering tone of their exchanges in the film‍—‌the healthy give-and-take and mutual respect‍—‌became the basis for their on-screen relationship in subsequent films. Captain Blood was released on December 28, 1935, and received good reviews and wide public appeal. De Havilland’s performance was singled out in The New York Times and Variety. The film was nominated for four Academy Awards, including Best Picture. The popular success of the film, as well as the critical response to the on-screen couple, led to seven additional collaborations.

In 1936, de Havilland appeared in Mervyn LeRoy’s historical period drama Anthony Adverse with Fredric March. Based on the popular novel by Hervey Allen, the film follows the adventures of an orphan raised by a Scottish merchant, whose pursuit of fortune separates him from the innocent peasant girl he loves, marries, and eventually loses. De Havilland played the peasant girl Angela, who after being separated from her slave-trader husband, becomes opera star Mademoiselle Georges, the mistress of Napoleon. The film earned six Academy Award nominations, including Best Picture. It garnered de Havilland good exposure and the opportunity to portray a character as she develops over time. Howard Barnes of the New York Herald Tribune found her later scenes as Mademoiselle Georges “not very credible,” but Frank S. Nugent of The New York Times called her “a winsome Angela.” That same year, she was reunited with Flynn in Michael Curtiz’s period action film The Charge of the Light Brigade, set during the Crimean War which became a box office success. During the film’s production, de Havilland renegotiated her contract with Warner Bros. and signed a seven-year contract on April 14, 1936, with a starting weekly salary of five hundred dollars (equivalent to $8,600 in 2016). Toward the end of the year, 20-year-old de Havilland and her mother moved to 2337 Nella Vista Avenue in the Los Feliz section of Los Angeles.

In 1937, de Havilland had her first top billing in Archie Mayo‘s comedy Call It a Day, about a middle-class English family struggling with the romantic effects of spring fever during the course of a single day. De Havilland played daughter Catherine Hilton, who falls in love with the handsome artist hired to paint her portrait. The film did not do well at the box office and did little to advance her career. She fared better in Mayo’s screwball comedy It’s Love I’m After with Leslie Howard and Bette Davis. De Havilland played Marcia West, a young debutante and theater fan enamored with a Barrymore-like matinee idol who decides to help the girl’s fiancé by pretending to be an abominable cad. The film received good reviews, with Variety calling it “fresh, clever, excellently directed and produced, and acted by an ensemble that clicks from start to finish,” and praising de Havilland.

That same year, de Havilland made two more period films, beginning with The Great Garrick, a fictional romantic comedy about the 18th-century English actor’s encounter with jealous players from the Comédie-Française who plot to embarrass him on his way to Paris. Wise to their prank, Garrick plays along with the ruse, determined to get the last laugh, even on a lovely young aristocrat, de Havilland’s Germaine Dupont, whom he mistakenly believes to be one of the players. With her refined demeanor and diction, de Havilland delivers a performance that is “lighthearted and thoroughly believable,” according to Judith Kass. Variety praised the film, calling it “a production of superlative workmanship.”

Despite the positive reviews, the film did not do as well at the box office. Her final film that year was Michael Curtiz‘s romantic drama Gold Is Where You Find It,[76] a film about the late 19th-century conflict in the Sacramento Valley between gold miners and their hydraulic equipment and farmers whose land is being flooded. De Havilland played the daughter of a farmer, Serena Ferris, who falls in love with the mining engineer responsible for the flooding. The film was released in February 1938, and was her first appearance in three-strip Technicolor.

 

Movie stardom, 1938–40

In September 1937, de Havilland was selected by Warner Bros. studio head Jack L. Warner to play Maid Marian opposite Errol Flynn in The Adventures of Robin Hood (1938). The Technicolor production was filmed on location between September 26, 1937, and January 14, 1938, at Bidwell Park, Busch Gardens, and Lake Sherwood in California. Directed by William Keighley and Michael Curtiz, the film is about the legendary Robin Hood, a Saxon knight who opposes the corrupt and brutal Prince John and his Norman lords while good King Richard is away fighting in the Third Crusade. The king’s ward, Maid Marian, initially opposes Robin, but later supports him after learning his true intentions of helping his oppressed people. No mere bystander to events, Marian risks her life to save Robin by providing his men a plan for his escape. As defined by de Havilland, Marian is both a beautiful fairy-tale heroine and a spirited, intelligent woman “whose actions are governed by her mind as well as her heart,” according to author Judith Kass. The Adventures of Robin Hood was released on May 14, 1938, and was an immediate critical and commercial success, earning an Academy Award nomination for Best Picture. It went on to become one of the most popular adventure films of the Classical Hollywood era.

The popularity of The Adventures of Robin Hood brought de Havilland a new level of fame as a movie star, but this new status was not reflected in her subsequent film assignments at Warner Bros. Her next several roles were more routine and less challenging. In the romantic comedy Four’s a Crowd (1938), de Havilland played Lorri Dillingwell, a dizzy rich girl being romanced by a conniving public relations man looking to land an account with her eccentric grandfather.

In Ray Enright‘s romantic comedy Hard to Get (1938), she played another dizzy rich girl, Margaret Richards, whose desire to exact revenge on a gas station attendant leads to her own comeuppance. While de Havilland was certainly capable of playing these kinds of characters, her personality was better suited to stronger and more dramatic roles, according to Judith Kass. By this time, de Havilland had serious doubts about her career at Warner Bros.

Some film scholars consider 1939 to be the high point of the golden age of Classical Hollywood, producing classics in many genres, including the Western. Warner Bros. produced Michael Curtiz’s sprawling Technicolor adventure Dodge City, Flynn and de Havilland’s first Western film. Set during the American Civil War, the film is about a Texas trailblazer who witnesses the brutal lawlessness of Dodge City, Kansas, and becomes sheriff to clean up the town. De Havilland played Abbie Irving, whose initial hostility towards Flynn’s character Wade Hatton is transformed by events, and the two fall in love‍—‌by now a proven formula for their on-screen relationships. Curtiz’s action sequences, Sol Polito’s cinematography, Max Steiner’s expansive film score, and perhaps the “definitive saloon brawl in movie history” all contributed to the film’s success. Variety described the film as “a lusty western, packed with action.” For de Havilland, playing yet one more supporting love interest in a limited role, Dodge City represented the emotional low point of her career to that point. She later said, “I was in such a depressed state that I could hardly remember my lines.”

In a letter to a colleague dated November 18, 1938, film producer David O. Selznick wrote, “I would give anything if we had Olivia de Havilland under contract to us so that we could cast her as Melanie.” The film he was preparing to shoot was Gone with the Wind, and Jack L. Warner was unwilling to lend her out for the project. De Havilland had read the novel, and unlike most other actresses, who wanted the Scarlett O’Hara role, she wanted to play Melanie Hamilton‍—‌a character whose quiet dignity and inner strength she understood and felt she could bring to life on the screen. De Havilland turned to Warner’s wife Anne for help. Warner later recalled, “Olivia, who had a brain like a computer concealed behind those fawn-like eyes, simply went to my wife and they joined forces to change my mind.” Warner relented, and de Havilland was signed to the project a few weeks before the start of principal photography on January 26, 1939.

Set in the American South during the 19th century, the film is about the strong-willed daughter of a Georgia plantation owner in love with the husband of her sister-in-law, Melanie, whose kindness stands in sharp contrast to those around her. According to film historian Tony Thomas, de Havilland’s skillful and subtle performance effectively presents this character of selfless love and quiet strength in a way that keeps her vital and interesting throughout the film. Gone with the Wind had its world premiere in Atlanta, Georgia, on December 15, 1939, and was well received. Frank S. Nugent of The Times wrote that de Havilland’s Melanie “is a gracious, dignified, tender gem of characterization,” and John C. Flinn, Sr., in Variety called her “a standout.” The film won 10 Academy Awards, including Best Picture, and de Havilland received her first nomination for Best Supporting Actress.

 

Melanie was someone different. She had very, deeply feminine qualities … that I felt were very endangered at that time, and they are from generation to generation, and that somehow they should be kept alive, and … that’s why I wanted to interpret her role. … The main thing is that she was always thinking of the other person, and the interesting thing to me is that she was a happy person … loving, compassionate.

— Olivia de Havilland

 

Within days of completing her work in Gone with the Wind in June 1939, de Havilland returned to Warner Bros. and began filming Michael Curtiz’s historical drama The Private Lives of Elizabeth and Essex with Bette Davis and Errol Flynn. She had hoped her work on Selznick’s prestige picture would lead to first-rate roles at Warner Bros., but instead she received third billing below the title as the queen’s lady-in-waiting. In early September, she was lent out to Samuel Goldwyn Productions for Sam Wood‘s romantic caper film Raffles with David Niven, about a high-society cricketer and jewel thief. De Havilland later complained, “I had nothing to do with that style of film.” In early 1940, de Havilland refused to appear in several films assigned to her, initiating the first of her suspensions at the studio. She agreed to play in Curtis Bernhardt’s musical comedy drama My Love Came Back with Jeffrey Lynn and Eddie Albert, who played a classical music student turned swing jazz bandleader. De Havilland played violinist Amelia Cornell, whose life becomes complicated by the support of a wealthy sponsor. In his review in The New York Times, Bosley Crowther described the film as “a featherlight frolic, a rollicking roundelay of deliciously pointed nonsense”, noting that de Havilland “plays the part with pace and wit.”

That same year, de Havilland was reunited with Flynn in their sixth film together, Michael Curtiz’s Western adventure Santa Fe Trail, set against the backdrop of abolitionist John Brown’s fanatical antislavery attacks in the days leading up to the American Civil War. The mostly fictional story follows West Point cadets J. E. B. Stuart, played by Flynn, and George Armstrong Custer, played by Ronald Reagan, as they make their way west, both vying for the affection of de Havilland’s Kit Carson Halliday. Unlike some of her previous adventure film roles, Kit is a vital, interesting, and confident character who knows her mind and plays a pivotal role in the story. Playing Kit in a provocative, tongue-in-cheek manner, de Havilland creates a character of real substance and dimension, according to Tony Thomas. Following a world premiere on December 13, 1940, at the Lensic Theatre in Santa Fe, New Mexico‍—‌attended by cast members, reporters, the governor, and over 60,000 fans‍—‌Santa Fe Trail went on to become one of the top-grossing films of 1940. De Havilland, who accompanied Flynn on the well-publicized train ride to Santa Fe, did not attend the premiere, having been diagnosed with appendicitis that morning and rushed into surgery.

 

War years, 1941–44

Following her emergency surgery, de Havilland began a long period of convalescence in a Los Angeles hospital during which time she rejected several scripts offered to her by Warner Bros., leading to another suspension. In 1941, she appeared in three commercially successful films, beginning with Raoul Walsh’s romantic comedy The Strawberry Blonde with James Cagney. Set during the Gay Nineties, the story involves a man who marries an outspoken advocate for women’s rights after a rival steals his glamorous “strawberry blonde” girlfriend, and later discovers he ended up with a loving and understanding wife. Her performance revealed a growing confidence playing comedic roles, and a real talent for combining the qualities of kindness and love with a refined sense of naughtiness, according to film historian Tony Thomas. The film was a critical and commercial success. In Mitchell Leisen’s romantic drama Hold Back the Dawn with Charles Boyer for Paramount Pictures, de Havilland transitioned to a different type of role for her‍—‌an ordinary, decent small-town teacher whose life and sexuality are awakened by a sophisticated European gigolo, whose own life is positively affected by her love. Leisen’s careful direction and guidance appealed to de Havilland‍—‌much more than the workman-like approach of her Warner Bros. directors. Bosley Crowther of The New York Times wrote, “Olivia de Havilland plays the school teacher as a woman with romantic fancies whose honesty and pride are her own‍—‌and the film’s‍—‌chief support. Incidentally, she is excellent.” Her performance earned de Havilland her second Academy Award nomination‍—‌this time for Best Actress.

In July 1941, de Havilland was reunited with Errol Flynn for their eighth movie together, Raoul Walsh‘s epic They Died with Their Boots On. The film is loosely based on the courtship and marriage of George Armstrong Custer and Elizabeth “Libbie” Bacon. Flynn and de Havilland had a falling out the previous year‍—‌mainly over the roles she was being given‍—‌and she did not intend to work with him again. Even Flynn acknowledged, “She was sick to death of playing ‘the girl’ and badly wanted a few good roles to show herself and the world that she was a fine actress.” After she learned from Warner that Flynn had come to his office saying he needed her in the film, de Havilland accepted. Screenwriter Lenore Coffee was brought in to add several romantic scenes, and improve the overall dialogue. The result is a film that includes some of their finest work together. Their last appearance on screen is Custer’s farewell to his wife. “Errol was quite sensitive,” de Havilland would later remember, “I think he knew it would be the last time we worked together.” Flynn’s final line in that scene would hold special meaning for her: “Walking through life with you, ma’am, has been a very gracious thing.” They Died with Their Boots On was released on November 21, 1941, and while some reviewers criticized the film’s historical inaccuracies, most applauded the action sequences, cinematography, and acting. Thomas M. Pryor of The New York Times found de Havilland “altogether captivating.” The film went on to earn $2,550,000 (equivalent to $41,500,000 in 2016), Warner Bros’ second-biggest money-maker of that year.

In 1942, de Havilland appeared in Elliott Nugent‘s romantic comedy The Male Animal with Henry Fonda, about an idealistic professor fighting for academic freedom while trying to hold onto his job and his wife Ellen. While her role was not particularly challenging, de Havilland’s delineation of an intelligent, good-natured woman trying to resolve the unsettling circumstances of her life played a major part in the film’s success, according to Tony Thomas. The film was a critical and commercial success, with Bosley Crowther of The Times noting that de Havilland “concocts a delightfully pliant and saucy character as the wife.” That year, she also appeared in John Huston‘s drama In This Our Life with Bette Davis. Based on the Pulitzer Prize-winning novel of the same name by Ellen Glasgow, the story is about two sisters whose lives are destroyed by the anger and jealousy of one of the sisters. Crowther gave the film a negative review, but noted de Havilland’s “warm and easy performance.” During production, de Havilland and Huston began a romantic relationship that lasted three years.

According to de Havilland, one of the few truly satisfying roles she played for Warner Bros. was the title character in Norman Krasna’s romantic comedy Princess O’Rourke (1943) with Robert Cummings. Filmed in July and August 1942, the story is about a European princess in Washington, DC, visiting her diplomat uncle, who is trying to find her an American husband. Intent on marrying a man of her own choosing, she boards a plane heading west and ends up falling in love with an American pilot, who is unaware of her true identity. The film was released on October 23, 1943, and did well at the box office. Bosley Crowther called it “a film which is in the best tradition of American screen comedy”, and found de Havilland’s performance “charming.”

 

I wanted to do complex roles, like Melanie for example, and Jack Warner saw me as an ingénue. I was really restless to portray more developed human beings. Jack never understood this, and … he would give me roles that really had no character or quality in them. I knew I wouldn’t even be effective.

— Olivia de Havilland

 

After fulfilling her seven-year Warner Bros. contract in 1943, de Havilland was informed that six months had been added to her contract for the times that she had been suspended. At the time, the studios had adopted the position that California law allowed them to suspend contract players for rejecting a role, and the period of suspension could be added to the contract period. Most contract players accepted this, but a few tried to change the system, including Bette Davis, who mounted an unsuccessful lawsuit against Warner Bros. in the 1930s. On August 23, 1943, acting on the advice of her lawyer, Martin Gang, de Havilland took Warner Bros. to court, citing an existing section of the California Labor Code that forbade an employer from enforcing a contract against an employee for longer than seven years from the date of first performance. In November 1943, the California Superior Court found in de Havilland’s favor, and Warner Bros. immediately appealed. On December 8, 1944, the California Court of Appeal for the Second District ruled in her favor. The decision was one of the most significant and far-reaching legal rulings in Hollywood, reducing the power of the studios and extending greater creative freedom to performers. California’s resulting “seven-year rule,” also known as Labor Code Section 2855, is still known today as the De Havilland Law. Her legal victory, which cost her $13,000 (equivalent to $180,000 in 2016) in legal fees, won de Havilland the respect and admiration of her peers, among them her own sister Joan Fontaine, who later commented, “Hollywood owes Olivia a great deal.” Warner Bros. reacted to de Havilland’s lawsuit by circulating a letter to other studios that had the effect of a “virtual blacklisting.” As a consequence, de Havilland did not work at a film studio for nearly two years.

De Havilland became a naturalized citizen of the United States on November 28, 1941. During the war years, she actively sought out ways to express her patriotism and contribute to the war effort. In May 1942, she joined the Hollywood Victory Caravan, a three-week train tour of the country that raised money through the sale of war bonds. Later that year she began attending events at the Hollywood Canteen, meeting and dancing with the troops. In December 1943 de Havilland joined a USO tour that traveled throughout the United States, Alaska, and the South Pacific, visiting wounded soldiers in military hospitals. She earned the respect and admiration of the troops for visiting the isolated islands and battlefronts in the Pacific. She survived flights in damaged aircraft and a bout with viral pneumonia requiring several days’ stay in one of the island barrack hospitals. She later remembered, “I loved doing the tours because it was a way I could serve my country and contribute to the war effort.”

 

Vindication and recognition, 1945–52

After the California Court of Appeals ruling freed her from her Warner Bros. contract, de Havilland signed a two-picture deal with Paramount Pictures. In June 1945, she began filming Mitchell Leisen’s drama To Each His Own, about an unwed mother who gives up her child for adoption and then spends the rest of her life trying to undo that decision. De Havilland insisted on bringing in Leisen as director, trusting his eye for detail, his empathy for actors, and the way he controlled sentiment in their previous collaboration, Hold Back the Dawn. The role required de Havilland to age nearly 30 years over the course of the film‍—‌from an innocent, small-town girl to a shrewd, ruthless businesswoman devoted to her cosmetics company. While de Havilland never formally studied acting, she did read Stanislavsky’s autobiography My Life in Art and applied one of his “methods” for this role. To help her define her character during the four periods of the story, she used a different perfume for each period. She also lowered the pitch of her voice incrementally in each period until it became a mature woman’s voice. Her performance earned her the Academy Award for Best Actress in 1946‍—‌her first Oscar. According to film historian Tony Thomas, the award represented a vindication of her long struggle with Warner Bros. and confirmation of her abilities as an actress.

Her next two roles were challenging. In Robert Siodmak’s psychological thriller The Dark Mirror (1946), de Havilland played twin sisters Ruth and Terry Collins‍—‌one loving and normal, the other psychotic. In addition to the technical problems of showing her as two characters interacting with each other on screen at the same time, de Havilland needed to portray two separate and psychologically opposite people. While the film was not well received by critics‍—‌Variety said the film “gets lost in a maze of psychological gadgets and speculation”‍—‌de Havilland’s performance was praised by Tony Thomas, who called her final scene in the film “an almost frighteningly convincing piece of acting.” De Havilland later stated that playing the evil sister haunted her for years. In his review in The Nation, James Agee wrote that “her playing is thoughtful, quiet, detailed, and well sustained, and since it is founded, as some more talented playing is not, in an unusually healthful-seeming and likable temperament, it is an undivided pleasure to see.” While appearing in a summer stock production of What Every Woman Knows in Westport, Connecticut, her second professional stage appearance, de Havilland began dating Marcus Goodrich, a Navy veteran, journalist, and author of the 1941 novel Delilah. They were married on August 26, 1946.

De Havilland was praised for her performance as Virginia Cunningham in Anatole Litvak‘s drama The Snake Pit (1948), one of the first films to attempt a realistic portrayal of mental illness and an important exposé of the harsh conditions in state mental hospitals, according to film critic Philip French. Based on a novel by Mary Jane Ward and produced by Darryl F. Zanuck, the film is about a woman placed in a mental institution by her husband to help her recover from a nervous breakdown. Virginia Cunningham was one of the most difficult of all her film roles, requiring significant preparation both mentally and physically‍—‌she deliberately lost weight to help create her gaunt appearance on screen. She consulted regularly with psychiatrists hired as consultants for the film, and visited Camarillo State Mental Hospital to research her role and observe the patients. The extreme physical discomfort of the hydrotherapy and simulated electric shock therapy scenes were especially challenging for the slight 5-foot-3-inch (160 cm) actress. In her performance, she conveyed her mental anguish by physically transforming her face with furrowed brow, wild staring eyes, and grimacing mouth.

 

I met a young woman who was very much like Virginia, about the same age and physical description, as well as being a schizophrenic with guilt problems. … What struck me most of all was the fact that she was rather likable and appealing. It hadn’t occurred to me before that a mental patient could be appealing, and it was that that gave me the key to the performance.

— Olivia de Havilland

 

According to author Judith Kass, de Havilland delivered a performance both “restrained and electric,” portraying varied and extreme aspects of her character‍—‌from a shy young woman to a tormented and disoriented woman. For her performance in The Snake Pit, de Havilland received an Academy Award nomination for Best Actress, the New York Film Critics Circle Award for Best Actress, and the Venice Film Festival Volpi Cup. In 1949, de Havilland appeared in William Wyler‘s period drama The Heiress (1949), the fourth in a string of critically acclaimed performances. After seeing the play on Broadway, de Havilland called Wyler and urged him to fly to New York to see what she felt would be a perfect role for her. Wyler obliged, loved the play, and with de Havilland’s help arranged for Paramount to secure the film rights. Adapted for the screen by Ruth and Augustus Goetz and based on the 1880 novel Washington Square by Henry James, the film is about a young naïve woman who falls in love with a young man, over the objections of her emotionally abusive father, who suspects the man of being a gold digger. As she had done in Hold Back the Dawn, de Havilland portrays a character’s transformation from a shy, trusting innocent to a guarded, mature woman over a period of years. Her delineation of Catherine Sloper is developed through carefully crafted movements, gestures, and facial expressions that convey a submissive and inhibited young woman. Her timid voice, nervous hands, downcast eyes, and careful movements all communicate what the character is too shy to verbalize. Throughout the production, Wyler pressed de Havilland hard to elicit the requisite visual points of the character. In the scene where Catherine returns home after being jilted, the director had the actress carry a suitcase filled with heavy books up the stairs to convey the weight of Catherine’s trauma physically instead of using a planned speech in the original script. The Heiress was released in October 1949 and was well received by critics. For her performance, de Havilland received the New York Film Critics Award, the Golden Globe Award, and the Academy Award for Best Actress‍—‌her second Oscar.

After giving birth to her first child, Benjamin, on September 27, 1949, de Havilland took time off from making films to be with her infant. She turned down the role of Blanche DuBois in A Streetcar Named Desire, later explaining that becoming a mother was a “transforming experience” and that she could not relate to the character. In 1950, her family moved to New York City, where she began rehearsals for a major new stage production of Shakespeare’s Romeo and Juliet; it was her lifelong ambition to play Juliet on the stage. The play opened at the Broadhurst Theatre on March 11, 1951, to mixed reviews, with some critics believing the 35-year-old actress was too old for the role. The play closed after 45 performances. Undaunted, de Havilland accepted the title role in the stage production of George Bernard Shaw’s comedy Candida, which opened at the National Theatre on Broadway in April 1952. While reviews of the play were mixed, de Havilland’s performance was well received, and following the scheduled 32 performances, she went on tour with the company and delivered 323 additional performances, many to sold-out audiences. While de Havilland achieved major accomplishments during this period of her career, her marriage to Goodrich, 18 years her senior, had grown strained due to his unstable temperament. In August 1952, de Havilland filed for divorce, which became final the following year.

 

New life in Paris, 1953–62

 Of course the thing that staggers you when you first come to France is the fact that all the French speak French‍—‌even the children. Many Americans and “Britishers” who visit the country never quite adjust to this, and the idea persists that the natives speak the language just to show off or be difficult.

— Olivia de Havilland in Every Frenchman Has One

 

In April 1953, at the invitation of the French government, de Havilland traveled to the Cannes Film Festival, where she met Pierre Galante, an executive editor for the French journal Paris Match. Following a long-distance courtship and the requisite nine-month residency requirement, de Havilland and Galante married on April 2, 1955, in the village of Yvoy-le-Marron, and settled together in a three-story house near Bois de Boulogne park in the Rive Droite section of Paris. That same year, de Havilland returned to the screen in Terence Young’s period drama That Lady (1955), about a Spanish princess and her unrequited love for King Philip II of Spain, whose respect she earned in her youth after losing an eye in a sword fight defending his honor. According to Tony Thomas, the film uses authentic Spanish locations effectively, but suffers from a convoluted plot and excessive dialogue, and while de Havilland delivered a warm and elegant performance as Ana de Mendoza, the film was disappointing.

Following her appearances in the romantic melodrama Not as a Stranger (1955) and The Ambassador’s Daughter(1956)—‌neither of which were successful at the box office‍—‌de Havilland gave birth to her second child, Gisèle Galante, on July 18, 1956.

De Havilland returned to the screen in 1958 in Michael Curtiz’s Western drama The Proud Rebel, a film about a former Confederate soldier whose wife was killed in the war and whose son lost the ability to speak after witnessing the tragedy. De Havilland played Linnett Moore, a tough yet feminine frontier woman who cares for the boy and comes to love his father. The movie was filmed on location in Utah, where de Havilland learned to hitch and drive a team of horses and handle a gun for her role. The Proud Rebel was released May 28, 1958, and was well received by audiences and critics. In his review for The New York Times, A. H. Weiler called the film a “truly sensitive effort” and “heartwarming drama,” and praised de Havilland’s ability to convey the “warmth, affection and sturdiness needed in the role.”

One of de Havilland’s most noted performances during this period was in Guy Green’s romantic drama Light in the Piazza (1962) with Rossano Brazzi. Filmed in Florence and Rome, and based on Elizabeth Spencer’s novel of the same name, the film is about a middle-class American tourist on extended vacation in Italy with her beautiful 26-year-old daughter, who is mentally disabled as a result of a childhood accident. Faced with the prospect of her daughter falling in love with a young Italian, the mother struggles with conflicting emotions about her daughter’s future.

De Havilland projects a calm maternal serenity throughout most of the film, only showing glimpses of the worried mother anxious for her child’s happiness. The film was released on February 9, 1962, and was well received, with a Hollywood Reporter reviewer calling it “an uncommon love story … told with rare delicacy and force”, and Variet ynoting that the film “achieves the rare and delicate balance of artistic beauty, romantic substance, dramatic novelty and commercial appeal.” Variety singled out de Havilland’s performance as “one of great consistency and subtle projection.”

In early 1962, de Havilland traveled to New York and began rehearsals for Garson Kanin‘s stage play A Gift of Time. Adapted from the autobiographical book Death of a Man by Lael Tucker Wertenbaker, the play explores the emotionally painful struggle of a housewife forced to deal with the slow death of her husband, played by Henry Fonda. The play opened at the Ethel Barrymore Theatre on Broadway to positive notices, with de Havilland receiving her best reviews as a stage actress. Theater critic Walter Kerr praised her final scene, writing, “As darkness gathers, the actress gains in stature, taking on the simple and resolute willingness to understand.” The New York World Telegram and Sun reviewer concluded, “It is Miss de Havilland who gives the play its unbroken continuity. This distinguished actress reveals Lael as a special and admirable woman.” She stayed with the production for 90 performances. The year 1962 also had the publication of de Havilland’s first book, Every Frenchman Has One, a lighthearted account of her often amusing attempts to understand and adapt to French life, manners, and customs. The book sold out its first printing prior to the publication date and went on to become a bestseller.

 

Later films and television, 1963–88

In 1964, de Havilland appeared in her last two leading roles in feature films‍—‌both psychological thrillers. In Walter Grauman‘s Lady in a Cage, she played a wealthy poet who gets trapped in her mansion’s elevator and faces the threat of three terrorizing hooligans in her own home. Critics responded negatively to the graphic violence and cruelty shown on screen. A. H. Weiler of The New York Times called it a “sordid, if suspenseful, exercise in aimless brutality.” That same year, de Havilland appeared in Robert Aldrich’s Hush… Hush, Sweet Charlotte with her close friend Bette Davis. After Joan Crawford left the picture due to illness, Davis had Aldrich fly to Switzerland to persuade a reluctant de Havilland to accept the role of Miriam Deering, a cruel, conniving character hidden behind the charming façade of a polite and cultured lady. De Havilland’s quiet, restrained performance provided a counterbalance to Davis’s ranting characterization. Film historian Tony Thomas described her performance as “a subtle piece of acting” that was “a vital contribution to the effectiveness of the film.” The film was well received and earned seven Academy Award nominations.

As film roles became more difficult to find, a common problem shared by many Hollywood veterans from her era, de Havilland began working in television dramas, despite her dislike of the networks’ practice of breaking up story lines with commercials. Her first venture into the medium was a teleplay directed by Sam Peckinpah called NoonWine (1966) on ABC Stage 67, a dark tragedy about a farmer’s act of murder that leads to his suicide. The production and her performance as the farmer’s wife Ellie were well received. In 1972, she starred in her first television feature film, The Screaming Woman, about a wealthy woman recovering from a nervous breakdown. In 1979, she appeared in the ABC miniseries Roots: The Next Generations in the role of Mrs. Warner, the wife of a former Confederate officer played by Henry Fonda. The miniseries was seen by an estimated 110 million people‍—‌nearly one-third of American homes with television sets. Throughout the 1970s, de Havilland’s film work was limited to smaller supporting roles and cameo appearances. Her last feature film was The Fifth Musketeer (1979).

During this period, de Havilland began doing speaking engagements in cities across the United States with a talk entitled “From the City of the Stars to the City of Light”, a program of personal reminiscences about her life and career. She also attended tributes to Gone with the Wind. In the 1980s, her television work included an Agatha Christie television film Murder Is Easy (1982), the television drama The Royal Romance of Charles and Diana (1982) in which she played the Queen Mother, and the 1986 ABC miniseries North and South, Book II. Her most notable performance of the decade was in the television film Anastasia: The Mystery of Anna (1986) as Dowager Empress Maria, which earned her a Golden Globe Award for Best Supporting Actress in a Series, Miniseries or Television Film. In 1988, de Havilland appeared in the HTV romantic television drama The Woman He Loved; it was her final screen performance.

 

Retirement and remembrance, 1989–present

In retirement, de Havilland remained active in the film community. In 1998, she traveled to New York to help promote a special showing of Gone with the Wind. In 2003, she appeared as a presenter at the 75th Academy Awards. In 2004, Turner Classic Movies produced a retrospective piece called Melanie Remembers in which she was interviewed for the 65th anniversary of the original release of Gone with the Wind. In June 2006, she made appearances at tributes commemorating her 90th birthday at the Academy of Motion Picture Arts and Sciences and the Los Angeles County Museum of Art.

On November 17, 2008, at the age of 92, de Havilland received the National Medal of Arts, the highest honor conferred to an individual artist on behalf of the people of the United States. The medal was presented to her by President George W. Bush, who commended her “for her persuasive and compelling skill as an actress in roles from Shakespeare’s Hermia to Margaret Mitchell’s Melanie. Her independence, integrity, and grace won creative freedom for herself and her fellow film actors.” The following year, de Havilland narrated the documentary I Remember Better When I Paint (2009), a film about the importance of art in the treatment of Alzheimer’s disease.

On September 9, 2010, de Havilland was appointed a Chevalier (knight) of the Légion d’honneur, the highest decoration in France, awarded by French President Nicolas Sarkozy, who told the actress, “You honor France for having chosen us.” In February the following year, she appeared at the César Awards in France, where she was greeted with a standing ovation. De Havilland celebrated her 100th birthday on July 1, 2016.

 

Personal life

Relationships

Although known as one of Hollywood’s most exciting on-screen couples, de Havilland and Errol Flynn were never involved in a romantic relationship. Upon first meeting her at Warner Bros. in August 1935, Flynn was drawn to the 19-year-old actress with “warm brown eyes” and “extraordinary charm.” In turn, de Havilland fell in love with him, but kept her feelings inside, later recalling, “He never guessed I had a crush on him … it never occurred to me that he was smitten with me, too.” Flynn later wrote, “By the time we made The Charge of the Light Brigade, I was sure that I was in love with her.” Flynn finally professed his love on March 12, 1937, at the Coronation Ball for King George VI at the Ambassador Hotel in Los Angeles, where they slow danced together to “Sweet Leilani” at the hotel’s Coconut Grove nightclub. “I was deeply affected by him,” she later remembered, “It was impossible for me not to be.” The evening ended on a sobering note, however, with de Havilland insisting that despite his separation from his wife Lili Damita, he needed to divorce her before their relationship could proceed. Flynn reunited with his wife later that year, and de Havilland never acted on her feelings for Flynn.

In July 1938, de Havilland began dating business tycoon, aviator, and filmmaker Howard Hughes, who had just completed his record-setting flight around the world in 91 hours. In addition to escorting her about town, he gave the actress her first flying lessons. She later said, “He was a rather shy man … and yet, in a whole community where the men every day played heroes on the screen and didn’t do anything heroic in life, here was this man who was a real hero.” In December 1939, de Havilland began a romantic relationship with actor James Stewart. At the request of Irene Mayer Selznick, the actor’s agent asked Stewart to escort de Havilland to the New York premiere of Gone with the Wind at the Astor Theater on December 19, 1939. Over the next few days, Stewart took her to the theater several times and to the 21 Club. They continued to see each other back in Los Angeles, where Stewart provided occasional flying lessons and romance. According to de Havilland, Stewart proposed marriage to her in 1940, but she felt that he was not ready to settle down. Their relationship ended in late 1941 when de Havilland began a romantic relationship with film director John Huston while making In This Our Life. “John was a very great love of mine,” she would later admit, “He was a man I wanted to marry.”

 

Marriages and children

On August 26, 1946, she married Marcus Goodrich, a Navy veteran, journalist, and author of the 1941 novel Delilah. The marriage ended in divorce in 1953. They had one child, Benjamin Goodrich, who was born on September 27, 1949. He was diagnosed with Hodgkin’s lymphoma at the age of 19, but was able to graduate from the University of Texas. He worked as a statistical analyst for Lockheed Missiles and Space Company in Sunnyvale, California, and as an international banking representative for the Texas Commerce Bank in Houston. He died on October 1, 1991, in Paris at the age of 41 of heart disease brought on by treatments for Hodgkin’s disease, three weeks before the death of his father.

On April 2, 1955, de Havilland married Pierre Galante, an executive editor for the French journal Paris Match. Her marriage to Galante prompted de Havilland to move to Paris. The couple separated in 1962, but continued to live in the same house for another six years to raise their daughter together. Galante moved across the street and the two remained close, even after the finalization of the divorce in 1979. She looked after him during his final bout with lung cancer prior to his death in 1998. They had one child, Gisèle Galante, who was born on July 18, 1956. After studying law at the Université de Droit de Nanterre School of Law, she worked as a journalist in France and the United States. Since 1956, de Havilland has lived in the same three-story house near Bois de Boulogne park in the Rive Droite section of Paris.

 

Religion and politics

 De Havilland was raised in the Episcopal Church and has remained an Episcopalian throughout her life. After moving to France, she became one of the first women lectors at the American Cathedral in Paris, where she was on the regular rota for Scripture readings. As recently as 2012, she was still doing readings on major feast days, including Christmas and Easter. “It’s a task I love,” she once said. In describing her preparation for her readings, de Havilland once observed, “You have to convey the deep meaning, you see, and it has to start with your own faith. But first I always pray. I pray before I start to prepare, as well. In fact, I would always say a prayer before shooting a scene, so this is not so different, in a way.” De Havilland prefers to use the Revised English Bible for its poetic style. She raised her son Benjamin in the Episcopal Church and her daughter Gisèle in the Roman Catholic Church, the faith of the child’s father.

As a United States citizen, de Havilland became involved in politics as a way of exercising her civic responsibilities. She campaigned for Franklin D. Roosevelt‘s re-election in 1944. After the war, she joined the Independent Citizens’ Committee of the Arts, Sciences and Professions, a national public policy advocacy group that included Bette Davis, Gregory Peck, and Humphrey Bogart in its Hollywood chapter. In June 1946, she was asked to deliver speeches for the committee that reflected the Communist Party line‍—‌the group was later identified as a Communist front organization. Disturbed at seeing a small group of Communist members manipulating the committee, de Havilland removed the pro-Communist material from her speeches and rewrote them to reflect Harry S. Truman‘s anti-Communist platform. She later recalled, “I realized a nucleus of people was controlling the organization without a majority of the members of the board being aware of it. And I knew they had to be Communists.”

She organized a fight to regain control of the committee from its pro-Soviet leadership, but her reform efforts failed. Her resignation from the committee triggered a wave of resignations from 11 other Hollywood figures, including future President Ronald Reagan. In 1958, she was secretly called before the House Un-American Activities Committee and recounted her experiences with the Independent Citizens’ Committee.

 

Relationship with only sibling, Joan Fontaine

De Havilland and her sister Joan Fontaine are the only siblings to have won Academy Awards in a lead acting category. According to biographer Charles Higham, the sisters always had an uneasy relationship, starting in early childhood when Olivia had trouble accepting the idea of having a younger sister, and Joan resenting her mother’s favoring Olivia. Olivia would rip up the clothes that her sister was given to wear as hand-me-downs, forcing Joan to stitch them together again. This tension was made worse by Fontaine’s frequent childhood illnesses, which led to her mother’s overly protective expression, “Livvie can, Joan can’t.”

De Havilland was the first to become an actress, and for several years Fontaine was overshadowed by her sister’s accomplishments. When Mervyn LeRoy offered Fontaine a personal contract, her mother told her that Warner Bros. was “Olivia’s studio” and that she could not use the family name, “de Havilland.” In 1942, de Havilland and Fontaine were both nominated for an Academy Award for Best Actress‍—‌de Havilland for Hold Back the Dawn and Fontaine for Suspicion. When Fontaine’s name was announced as winner, de Havilland reacted graciously saying, “We’ve got it!” According to biographer Charles Higham, Fontaine rejected de Havilland’s attempts to congratulate her, leaving the other offended and embarrassed.

Their relationship was further strained in 1946 when Fontaine made negative comments to an interviewer about de Havilland’s new husband, Marcus Goodrich. When she read her sister’s remarks, de Havilland was deeply hurt and waited for an apology that was never offered. The following year after accepting her first Academy Award for To Each His Own, de Havilland was approached backstage by Fontaine, who extended her hand to congratulate her; de Havilland turned away from her sister. The two did not speak for the next five years after the incident. This may have caused an estrangement between Fontaine and her own daughters, who maintained a covert relationship with their aunt, de Havilland. Following her divorce from Goodrich, de Havilland resumed contact with her sister, coming to her apartment in New York and spending Christmas together there in 1961. The final break between the sisters occurred in 1975 over disagreements over their mother’s cancer treatment‍—‌de Havilland wanted to consult other doctors and supported exploratory surgery; Fontaine disagreed. Fontaine claimed that de Havilland did not notify her of their mother’s death while she was touring with a play‍—‌de Havilland in fact had sent a telegram, which took two weeks to reach her sister. The sibling feud ended with Fontaine’s death on December 15, 2013. The following day, de Havilland released a statement saying she was “shocked and saddened” by the news.

 

Career assessment and legacy

De Havilland’s career spanned 53 years, from 1935 to 1988. During that time, she appeared in 49 feature films, and was one of the leading movie stars during the golden age of Classical Hollywood. She began her career playing demure ingénues opposite popular male stars, including Errol Flynn, with whom she made her breakout film Captain Blood in 1935. They would go on to make eight more feature films together, and became one of Hollywood’s most popular romantic on-screen pairings. Her range of performances included roles in most major movie genres. Following her film debut in the Shakespeare adaptation A Midsummer Night’s Dream, de Havilland achieved her initial popularity in romantic comedies, such as The Great Garrick and Hard to Get, and Western adventure films, such as Dodge City and Santa Fe Trail. In her later career, she was most successful in drama films, such as In This Our Life and Light in the Piazza, and psychological dramas playing non-glamorous characters in films such as The Dark Mirror, The Snake Pit, and Hush… Hush, Sweet Charlotte.

During her career, de Havilland won two Academy Awards (To Each His Own and The Heiress), two Golden Globe Awards (The Heiress and Anastasia: The Mystery of Anna), two New York Film Critics Circle Awards (The Snake Pit and The Heiress), the National Board of Review Award, and the Venice Film Festival Volpi Cup (The Snake Pit), and a Primetime Emmy Award nomination (Anastasia: The Mystery of Anna).

For her contributions to the motion picture industry, de Havilland received a star on the Hollywood Walk of Fame at 6762 Hollywood Boulevard on February 8, 1960.[267] Since her retirement in 1988, her lifetime contribution to the arts has been honored on two continents. In 1998, she received an honorary doctorate from the University of Hertfordshire in England.

In 2006, she was inducted into the Online Film & Television Association Award Film Hall of Fame. On November 17, 2008, President George W. Bush presented de Havilland the National Medal of Arts, the highest honor given for achievement in the arts conferred to an individual artist on behalf of the American people. On September 9, 2010, de Havilland was appointed a Chevalier (knight) of the Légion d’honneur, the highest decoration in France, awarded by French President Nicolas Sarkozy.

The moving-image collection of Olivia de Havilland is held at the Academy Film Archive, which preserved a nitrate reel of a screen test for Danton, Max Reinhardt’s never-produced follow-up to A Midsummer Night’s Dream (1935).

de Havilland, as a confidante and friend of Bette Davis, is featured in the series Feud: Bette and Joan, portrayed by Catherine Zeta-Jones. In the series de Havilland reflects on the origins and depth of the DavisCrawford feud and how it affected contemporary female Hollywood stars.

 

Honors and awards

1939   Academy Award    –   Best Actress in a Supporting Role

1941   Academy Award    –    Best Actress in a Leading Role

1946   Academy Award    –    Best Actress in a Leading Role

1948   Academy Award    –    Best Actress in a Leading Role

Engelbert Humperdinck

 

(Engelbert Humperdinck (born Arnold George Dorsey; 2 May 1936) is an English pop singer. Humperdinck has been described as “one of the finest middle-of-the-road balladeers around.” His singles “Release Me” and “The Last Waltz” both topped the UK music charts in 1967, and sold more than a million copies each. In North America, he also had chart successes with “After the Lovin’” (1976) and “This Moment in Time” (1979). He has sold more than 150 million records worldwide.

 

Early life

Arnold George Dorsey was born in Madras, British India (present-day Chennai, India) in 1936, one of ten children to British Army NCO Mervyn Dorsey, who was of Welsh descent, and his wife Olive, who was of German descent. His family moved to Leicester, England, when he was ten. He soon showed an interest in music and began learning the saxophone. By the early 1950s, he was playing saxophone in nightclubs, but he is believed not to have tried singing until he was seventeen, when friends coaxed him into entering a pub contest. His impression of Jerry Lewis prompted friends to begin calling him “Gerry Dorsey,” a name that he worked under for almost a decade.

Dorsey’s music career was interrupted by his national service in the British Army Royal Corps of Signals during the mid-1950s. He got his first chance to record in 1958 with Decca Records after his discharge. His first single “I’ll Never Fall in Love Again” was not a hit, but Dorsey recorded for the same company almost a decade later with very different results. He continued working the nightclubs until 1961, when he was stricken with tuberculosis. He regained his health and returned to nightclub work, but with little success. Dorsey spent the early 1960s living in a house with Johnny “Sambuca” Todd in Jersey where he honed his talent.

 

Career

In 1965, Dorsey teamed up with Gordon Mills, his former roommate in the Bayswater area of London, who had become a music impresario and the manager of Tom Jones. Mills, aware that Dorsey had been struggling for several years to become successful in the music industry, suggested a name-change to the more arresting Engelbert Humperdinck, borrowed from the German 19th-century composer of operas such as Hansel and Gretel. Dorsey adopted the name professionally but not legally. Mills arranged a new deal for him with Decca Records, and Dorsey has been performing under this name ever since.

Humperdinck enjoyed his first real success during July 1966 in Belgium, where he and four others represented England in the annual Knokke song contest. Three months later in October 1966, he was on stage in Mechelen. He made a mark on the Belgian charts with “Dommage, Dommage,” and an early music video was filmed with him in the harbour of Zeebrugge.

In the mid-1960s, Humperdinck visited German songwriter Bert Kaempfert at his house in Spain and was offered arrangements of three songs: “Spanish Eyes“; “Strangers in the Night“; and “Wonderland by Night.” He returned to England where he recorded all three songs. He recognized the potential of “Strangers in the Night” and asked manager Gordon Mills whether it could be released as a single—but his request was refused, since the song had already been requested by Frank Sinatra.

In early 1967, the changes paid off when Humperdinck’s version of “Release Me” made the top ten on both sides of the Atlantic and number one in Britain, recorded in a smooth ballad style with a full chorus joining him on the third refrain, and keeping The Beatles‘ “Strawberry Fields Forever“/”Penny Lane” from the top slot in the UK. Another groundbreaking video showed Engelbert tied up with a lasso. “Release Me” spent 56 weeks in the Top 50 in a single chart run. “Release Me” was believed to have sold 85,000 copies a day at the height of its popularity, and it was the best known of his songs for years.

Humperdinck’s easygoing style and good looks earned him a large following, particularly among women. His hardcore female fans called themselves “Humperdinckers.” “Release Me” was succeeded by two more hit ballads: “There Goes My Everything” and “The Last Waltz,” earning him a reputation as a crooner, a description which he disputed. “If you are not a crooner,” he told The Hollywood Reporter writer Rick Sherwood, “it’s something you don’t want to be called. No crooner has the range I have. I can hit notes a bank could not cash. What I am is a contemporary singer, a stylized performer.”

In 1968, the single “A Man Without Love” reached number two in the UK Singles Chart, and the album of the same name reached number three. Another single, Les Bicyclettes de Belsize, was a top 10 hit in the UK and reached the top 40 in the United States. By the end of the decade, Humperdinck’s expanding roster of songs also included “Am I That Easy to Forget,” “The Way It Used To Be,” “I’m A Better Man (For Having Loved You)” (written by Burt Bacharach and Hal David), and “Winter World of Love.” He supplemented these big-selling singles with a number of equally successful albums. These albums formed the bedrock of his fame, and include Release Me, The Last Waltz, A Man Without Love, and Engelbert Humperdinck.

For six months in 1969–1970, Humperdinck fronted his own television series The Engelbert Humperdinck Show for ATV in the UK, and ABC in the US.] In this musical variety show, the singer was joined by some of the most popular and legendary figures then active in entertainment, including Paul Anka, Shirley Bassey, Tony Bennett, Jack Benny, Milton Berle, Ray Charles, Four Tops, Lena Horne, Liberace, Lulu, Carmen McRae Dusty Springfield, Jack Jones, Tom Jones and Dionne Warwick.

 

1960s and 1970s

By the start of the 1970s, Humperdinck had settled into a busy schedule of recordings, and a number of signature songs emerged from this period, often written by noted musicians and songwriters; among them, “We Made It Happen” (written by Paul Anka), “Sweetheart” (written by Barry Gibb and Maurice Gibb), “Another Time, Another Place,” and “Too Beautiful to Last” (theme from the motion picture Nicholas and Alexandra). In 1972, he starred in his own BBC Television series Engelbert with The Young Generation on BBC1 which ran for thirteen weeks, featuring the dance troupe and regular guests The Goodies and Marlene Charell, as well as international guests. By the middle of the decade, Humperdinck concentrated on selling albums and on live performances, with his style of balladry less popular on the singles charts, developing lavish stage productions that made him a natural for Las Vegas and similar venues. He performed regularly at the Riviera Hotel in Las Vegas through the early and middle years of the decade, recording a live album at the venue with The Three Degrees as backing singers.

In 1976, Humperdinck’s commercial credentials were buoyed by “After the Lovin,’” a ballad produced by Joel Diamond and released by CBS subsidiary Epic. The song was a top ten hit in the US and was nominated for a Grammy Award, went Gold, and won the “most played juke box record of the year” award. The album of the same name reached the top twenty on the US charts, and was a Double Platinum hit for the singer. Three of the album tracks were produced by Bobby Eli and recorded at the Sigma Sound Studios in Philadelphia. As critics point out, the singer’s unexpected foray into the “Philadelphia Sound” was successful, adding to the overall strength of the work. Rounding off the year, Humperdinck made his first appearance on The Tonight Show Starring Johnny Carson with a live performance of the hit single. Joel Diamond went on to produce a series of albums recorded by Humperdinck for Epic, including This Moment in Time from 1979 (the title song topped the US adult contemporary charts) and two Christmas albums. The two men have remained good friends. In 1979, following his late-decade chart successes stateside, Humperdinck took his stage show to Broadway with appearances at the Minskoff Theatre.

 

1980s and 1990s

In the 1980s, Humperdinck consolidated his discography, recording regularly and performing as many as 200 concerts a year while continuing with headlining appearances in Las Vegas at the Hilton Hotel (Westgate Las Vegas Resort & Casino). In the early and mid 1980s, he made a number of special appearances as an actor on popular television dramas of the time, including The Love Boat, Hotel, and Fantasy Island.

Following his stint as a recording artist with Epic, he released what William Ruhlmann has called an “ambitious double album” titled A Lovely Way To Spend An Evening (1985). Ruhlmann commends Humperdinck for recording this album of standards from the American Songbook; he notes that the work “was a long time coming,” while acknowledging that “the album deserved a broader distribution than it received.” The album was released in the UK as Getting Sentimental and reached the UK Top-40 album charts in the summer of 1985.

In the following years, Humperdinck continued with studio recordings, including a duet with Gloria Gaynor for his 1987 album Remember, I Love You In 1989, he recorded Step into My Life (released as Ich Denk An Dich in Germany). Songs on the album were written by songwriters and musicians such as Dieter Bohlen and Barry Mason. It spawned several singles: “Red Roses for My Lady,” “I Wanna Rock You in My Wildest Dreams,” and a version of Dieter Bohlen‘s first hit from the album Modern Talking, “You’re My Heart, You’re My Soul.”

Humperdinck was awarded a star on the Hollywood Walk of Fame in 1989 and won a Golden Globe Award as entertainer of the year, while also beginning major involvement in charitable causes such as the Leukemia Research Fund, the American Red Cross, the American Lung Association, and several AIDS relief organizations. He wrote a song for one charity-group titled “Reach Out” (released in 1992, on his studio album Hello Out There]).

Musical appraisals of Humperdinck’s career in the 1990s point to him earning “a new hip cachet” during the Lounge Revival, and note the success of new artistic ventures such as his recording of Lesbian Seagull for the soundtrack of the 1996 film Beavis and Butt-head Do America, and his dance album from 1998. 1995’s Love Unchained, produced by Bebu Silvetti, peaked in the UK Top-20 album charts, marking a return to form in his home country. He retained a public profile during these years, making numerous appearances on radio and television, including the Late Show with David Letterman and The Howard Stern Show, and at events such as the 1996 Daytona 500, where he performed The Star-Spangled Banner.

In 1988, Humperdinck filed a libel suit against the National Enquirer. The origin of the libelous statements was said to be Kathy Jetter, the mother of Humperdinck’s illegitimate child, and were made in an affidavit filed by Jetter in New York Family Court in an effort to increase child support payments from Humperdinck. Jetter lost the action. Jetter had successfully brought a paternity suit against Humperdinck following the birth of her daughter Jennifer in 1977.

 

21st century

Humperdinck’s recording career has continued into the new century, with new albums and a range of musical collaborations. In 2000, he hit the top five of the British album charts with Engelbert at His Very Best, and returned to the top five four years later, after he appeared in a John Smith’s TV-advertisement. In the spring of 2003, Humperdinck collaborated with Grammy Award-winning artist-producer Art Greenhaw to record the roots gospel album Always Hear the Harmony: The Gospel Sessions; joining Humperdinck on the album were The Light Crust Doughboys, The Jordanaires and The Blackwood Brothers. The critically acclaimed album was nominated for a Grammy for “Best Southern, Country or Bluegrass Gospel Album of the Year,” while Humperdinck was photographed with generations of fans at the 2004 Grammy Awards in Los Angeles. He was back in the studio soon after, releasing Let There Be Love in 2005. Music critics have remarked on the historical span of material in the album, from songs first made popular in the 1920s to more recent ones from the 1990s, and point especially to Humperdinck’s version of Nick Lowe‘s “You Inspire Me” as a noteworthy cut. In 2007, Humperdinck released The Winding Road. In a conversation with Larry King, Humperdinck discussed the genesis of the album; he pointed out that The Winding Road featured songs exclusively by British composers, as a “tribute to [his] home country,” released as it was to mark 40 years since his first international hit recording.

During the recording of the Gorillaz album Plastic Beach, Humperdinck was asked by Damon Albarn to contribute to the album as a guest artist. However, after listening to the proposed selection, the singer’s management of the time declined the offer without Humperdinck’s knowledge. Describing the event, Humperdinck stated that the missed opportunity was, “the most grievous sin ever committed”, and that he would have gladly collaborated with the Gorillaz. He added that he had since parted ways with his then-management, handing over duties to his son, Scott Dorsey. At the end of the interview, Humperdinck observed: “I’d really like to rekindle that suggestion again and bring it back. Hopefully they will ask me again. My son Scott will definitely say yes.”

On 1 March 2012, the BBC announced that Humperdinck would represent the United Kingdom in the final of the Eurovision Song Contest 2012, to be staged in Baku, Azerbaijan, on 26 May. The song, “Love Will Set You Free” was unveiled on 19 March 2012, produced by Grammy award-winning music producer Martin Terefe and co-written by Sacha Skarbek. The song was recorded in London, Los Angeles and Nashville, Tennessee, and was mixed by Thomas Juth in London. When Humperdinck’s participation was announced, he was set to become the oldest singer to ever participate in the contest at the age of 76. During the final allocation draw, the United Kingdom was drawn to perform first. Humperdinck eventually finished in 25th place out of 26, coming in second to last in the voting, with 12 points.

In 2013, he collaborated with Australian surf-rock band The Break (composed in part by former members of Midnight Oil) by providing the vocals to the song, “Ten Guitars,” for the album, Space Farm.

Well into his fifth decade as a successful entertainer, Humperdinck enjoys an annual schedule of international concert dates. He has performed in a range of venues and events. In 2009, Humperdinck performed at Carols in the Domain, a popular Christmas event held in Sydney, Australia. The following year found him in Minneapolis, Minnesota at the prestigious Orchestra Hall, in a performance on October 2010. In November 2010 he returned to Australia for a number of concerts, while adding a new studio album, Released, to his discography. Despite international tours, Humperdinck frequently returns for concerts in the United Kingdom; in May 2015, Humperdinck returned for three concerts in his home country, at the Bridgewater Hall in Manchester, the Symphony Hall, Birmingham, and the Royal Albert Hall.

A double-CD of duets, Engelbert Calling, was released in the UK on 17 March 2014 by Conehead Records, and charted in the UK Top-40. The album finds the singer in the studio with musicians like Charles Aznavour, Elton John, Il Divo, Johnny Mathis, Lulu, Willie Nelson, Olivia Newton-John, Cliff Richard, Smokey Robinson, Kenny Rogers, Neil Sedaka, Ron Sexsmith, Gene Simmons, and Dionne Warwick. The album was released in North America by OK! Good Records on 30 September 2014, with Humperdinck making a number of promotional appearances on radio and television, including an extended conversation with Caroline Modarressy-Tehrani on HuffPost Live. A Special Edition Vinyl EP with four tracks from the album was released in May 2015. According to OK! Good Records, the EP is Humperdinck’s first vinyl release after a gap of twenty-five years, and “will be a limited edition 7″ vinyl record with a first pressing of 1,000 copies on transparent cloudy clear vinyl.”

2017 marks the 50th anniversary of Humperdinck’s first international chart success, and two major celebratory disc sets are slated for a release in the early summer. The first, Engelbert Humperdinck 50, is a two-disc album bringing together Humperdinck’s charting singles for Decca, other songs from different points in his career, two new studio recordings, and a new remix of “Release Me.” The second is an extended box set of the singer’s first eleven albums, reissued by Decca Records, complete with original album artwork and supplemented by new notes on the works.

Personal life

In 1964, Humperdinck married Patricia Healey. They have four children. Through the years, Humperdinck has maintained a strong family life, even as the family alternated between homes in England and in southern California. He was raised and remains a practicing Catholic. Daughter-in-law, Jo Dorsey, has remarked that the singer “tries to visit a cathedral in every town or city he tours globally.”

Humperdinck is a successful real-estate entrepreneur and businessman. He invested in prime real estate properties in Hawaii, Mexico and United States. In the 1970s he bought the Pink Palace, which had been owned by Jayne Mansfield, in Los Angeles. He sold it in 2002 for $4 million to developers. In the 1980s he bought a hotel property in La Paz, Mexico and renamed it La Posada de Englebert. The hotel flourished for a time, acquiring a reputation as an off-the-beaten-track gem. In later years, however, his ownership to the property was successfully challenged. The hotel was demolished in 2012, and was replaced by the Posada Hotel Beach Club.

Humperdinck retains firm ties with Leicestershire, where he spent much of his youth. In August 2005, he auctioned one of his Harley-Davidson motorcycles on eBay to raise money for the County Air Ambulance in Leicestershire. In 2006, the University of Leicester awarded Humperdinck with an Honorary Doctorate of Music. On 25 February 2009, Leicester City Council announced that Humperdinck would be given the Honorary Freedom of Leicester alongside author Sue Townsend and former professional footballer Alan Birchenall. In 2010, Humperdinck was one of the first nine people to be honored with a plaque on the Leicester Walk of Fame.

Don Rickles

Donald JayDonRickles (May 8, 1926 – April 6, 2017) was an American stand-up comedian, actor and author. Although he became well known as an insult comic, his pudgy, balding appearance and pugnacious style led to few leading roles in film or television, including his prominent film roles included Run Silent, Run Deep (1958) and Kelly’s Heroes (1970). Beginning in 1976, he enjoyed a two-year run starring in the sitcom C.P.O. Sharkey.

He received widespread exposure as a popular guest on numerous talk shows, including The Tonight Show Starring Johnny Carson and Late Show with David Letterman, and later voiced Mr. Potato Head in the Toy Story films. He won a Primetime Emmy Award for the 2007 documentary Mr. Warmth: The Don Rickles Project.

 

Early life

Donald Jay Rickles was born to Jewish parents in Queens, New York, on May 8, 1926. His father, Max Rickles, emigrated in 1903 with his Lithuanian parents from Kaunas (then in the Russian Empire), and his mother, Etta (née Feldman), was born in New York City to Austrian immigrant parents. Rickles grew up in Jackson Heights, New York.

After graduating from Newtown High School, Rickles enlisted in the US Navy, and served during World War II on the motor torpedo boat tender USS Cyrene (AGP-13) as a seaman first class. He was honorably discharged in 1946. Two years later, intending to be a dramatic actor, he studied at the American Academy of Dramatic Arts and then played bit parts on television. Frustrated by a lack of acting work, Rickles began performing comedy in clubs in New York, Miami, and Los Angeles. He became known as an insult comedian when he responded to his hecklers. The audience enjoyed these insults more than his prepared material, so he incorporated them into his act.

When he began his career in the early 1950s, he started calling ill-mannered members of the audience “hockey pucks.” His style was similar to that of an older insult comic, Jack E. Leonard, though Rickles denied Leonard influenced his style. During an interview on Larry King Live, Rickles credited Milton Berle‘s comedy style for inspiring him to enter show business.

 

Career

 1950s–1960s

While working in the “Murray Franklin’s” nightclub in Miami Beach, Florida, early in his career, Rickles spotted Frank Sinatra and remarked to him, “I just saw your movie The Pride and the Passion and I want to tell you, the cannon’s acting was great.” He added, “Make yourself at home, Frank. Hit somebody!” Sinatra, whose pet name for Rickles was “bullet-head,” enjoyed him so much that he encouraged other celebrities to see Rickles’ act and be insulted by him. Sinatra’s support helped Rickles become a popular headline performer in Las Vegas. During a Dean Martin Celebrity Roast special, Rickles was among those who took part in roasting Sinatra, although Rickles himself was also roasted during another show in the series.

Rickles earned the nicknames, “The Merchant of Venom” and “Mr. Warmth” for his poking fun at people of all ethnicities and walks of life. When he was introduced to an audience or on a television talk show, Spanish matador music, “La Virgen de la Macarena,” would usually be played, subtly foreshadowing someone was about to be metaphorically gored. Rickles said, “I always pictured myself facing the audience as the matador.”

In 1958, Rickles made his film debut in a serious part in Run Silent, Run Deep with Clark Gable and Burt Lancaster. Throughout the 1960s, he often appeared on television in sitcoms and dramatic series. Rickles guest-starred in Get Smart as Sid, an old war buddy of Max who comes to stay with him. In an episode of the 1960s drama series Run for Your Life, Rickles played a distressed comedian whose act culminates when he strangles a patron while imploring the patron to “Laugh!” Rickles took a dramatic turn in the low-budget Roger Corman film X: The Man with the X-Ray Eyes as a carnival barker out to exploit the title character (played by Ray Milland).

Rickles appeared in the popular Beach Party film series. He recalled in his 2007 memoir that at a White House dinner, Barbara Bush teased him about his decision to appear in those films. Rickles’ agent, Jack Gilardi, was married to Annette Funicello when Rickles was cast in the Beach Party films. He subsequently began appearing more frequently on television talk shows, first appearing on The Tonight Show Starring Johnny Carson in 1965.

He became a frequent guest and guest host, appearing more than 100 times on The Tonight Show during Carson’s era. An early Carson-Rickles Tonight highlight occurred in 1968 when, while two Japanese women treated Carson to a bath and foot massage, Rickles walked onto the set. Rickles also made frequent appearances on The Dean Martin Show and became a fixture on The Dean Martin Celebrity Roast specials.

In 1968, Rickles released a live comedy album, Hello, Dummy!, which reached #54 on the Billboard 200 album chart. The same year he starred in his own variety show on ABC, The Don Rickles Show, with comedy writer Pat McCormick as his sidekick. The show lasted one season. During the 1960s, Rickles made guest appearances on The Dick Van Dyke Show, The Munsters, The Addams Family, The Mothers-in-Law, Gilligan’s Island, Get Smart, The Twilight Zone, The Andy Griffith Show and I Dream of Jeannie.

1970s–1980s

In 1970, Rickles had a notable role as Crapgame in Kelly’s Heroes, sharing the marquee poster with co-stars Clint Eastwood, Telly Savalas, Donald Sutherland, and Carroll O’Connor. In 1972, he starred in The Don Rickles Show, which lasted for 13 episodes. He also starred in a series of television specials. In his memoir, Rickles acknowledged a scripted sitcom was not well-suited to his ad-lib style of performing.

Starting in 1973, Rickles became a popular comedian appearing on The Dean Martin Celebrity Roast specials. In 1976–1978, he starred in C.P.O. Sharkey, which lasted two seasons. The series is primarily remembered for the cigarette box incident when Johnny Carson did an impromptu surprise visit during an episode’s taping because he was “incensed” Rickles broke his cigarette box while he chatted with Bob Newhart (who was sitting in for Carson as the guest host of The Tonight Show) on the previous night’s show. The incident was often replayed in Tonight Show retrospectives and was considered a highlight of the 1970s era of the series.

 

Rickles occasionally appeared as a panelist on Hollywood Squares, and was depicted in comic book form by Jack Kirby during his work on the Superman’s Pal Jimmy Olsen series.

 

1980s–1990s

 In the early 1980s, Rickles began performing with Steve Lawrence in concerts in Las Vegas. In 1983, the duo co-hosted Foul-Ups, Bleeps & Blunders, an imitation of TV’s Bloopers & Practical Jokes. In 1985, when Frank Sinatra was asked to perform at Ronald Reagan‘s Second Inaugural Ball, he insisted that Rickles be allowed to perform, and do it unrehearsed. Rickles considered this performance the highlight of his career.

In 1990, he appeared in the second season of Tales from the Crypt in the episode “The Ventriloquist’s Dummy.” In 1992, he was cast in Innocent Blood, directed by John Landis. In his memoir, Rickles wrote that he recalled that Landis was a Production Assistant to Brian G. Hutton during the filming of Kelly’s Heroes. During the filming of Innocent Blood, Rickles would kid Landis by ordering him to get coffee or to run other errands befitting his one-time “gofer” status.

In 1993, Rickles starred in another short-lived sitcom, Daddy Dearest, with Richard Lewis. In 1995, he played Billy Sherbert in Casino, and voiced Mr. Potato Head in Toy Story (1995) and reprised his role in Toy Story 2 (1999). Rickles starred as George Wilson in 1998’s Dennis the Menace Strikes Again. In 1998, he portrayed a film theater manager in Dirty Workand voiced Cornwall, one of the heads of a two-headed dragon, in Quest for Camelot.

 

2000s–2010s

Rickles made a cameo appearance as himself in a recurring dream sequence in “Sub Conscious”, an episode of the CBS dramatic series, The Unit which aired in February 2007.

A memoir titled Rickles’ Book was released on May 8, 2007, by Simon & Schuster. Mr. Warmth: The Don Rickles Project, a documentary about Rickles directed by John Landis, made its debut on HBO on December 2, 2007. Rickles won a Primetime Emmy Award for Outstanding Individual Performance in a Variety or Music Program, besting a number of notable comics, including David Letterman, Jon Stewart, and Stephen Colbert. Rickles remarked, “Stephen Colbert’s a funny man, but he’s too young. He has got plenty of time to win awards, but this may be my last year and I think that I made it count. On second thought it was probably just a mercy award for an old man.” Rickles reprised his role of Mr. Potato Head for the Toy Story Midway Mania! attraction at Disney California Adventure Park, Disney’s Hollywood Studios and Toy Story 3.

Rickles appeared on Kathy Griffin: My Life on the D-List in 2009, and met Griffin’s mother, Maggie, to fulfill one item on Maggie’s “bucket list.” In 2010, he appeared in a commercial during Super Bowl XLIV as a talking rose, and appeared on the 37th Annual Daytime Emmy Awards on CBS TV on June 27, 2010. In 2011, Rickles reunited with his Casino co-star Joe Pesci in a Snickers advertisement highlighting the actors known for their “short fuses.” Rickles also played the late husband of Elka (Betty White) on the TV Land original comedy Hot in Cleveland— a “surprise” because his character was thought to be dead.

On May 28, 2014, Rickles was honored by Spike TV‘s “One Night Only: An All-Star Comedy Tribute to Don Rickles”. Recorded live at New York City’s Apollo Theater, Jerry Seinfeld was the master of ceremonies for the two-hour special, with live monologues by Johnny Depp, Martin Scorsese, Robert De Niro, Jon Stewart, David Letterman, Tracy Morgan, Brian Williams, Regis Philbin, Amy Poehler and Tina Fey. Recorded segments included bits from Bob Newhart, Bill Cosby, Jimmy Kimmel and Eddie Murphy.

“The camaraderie and the comedy made the show a cross between a traditional roast and a dignified lifetime achievement award, spanning emotions ranging from admiration and gratitude to, well, degradation. And as the evening reached its climax, when Rickles got his say after all that had said about him and his nearly 60-year-long career, fittingly, he had the last laugh.”   — TV Week

Rickles was still a frequent guest on late night talk shows, including Jimmy Kimmel Live!, and The Tonight Show Starring Jimmy Fallon during the later months of his life. On May 11, 2015, Rickles appeared as a guest on one of the final episodes of The Late Show with David Letterman. He also made a cameo in the show Grandfathered.

In a 2014 interview, Rickles dismissed thoughts of retiring, saying: “I’m in good health. I’m working better than I ever have. The audiences are great. Why should I retire? I’m like a fighter. The bell rings and you come out and fight. My energy comes alive. And I still enjoy it.”

Until his death in 2017, despite being impeded by multiple surgeries following a bout with necrotizing fasciitis in 2013, Rickles continued touring across the United States.

 

Personal life

On March 14, 1965, Rickles married Barbara Sklar of Philadelphia, Pennsylvania. He admitted having a very difficult time romantically in his 20s and 30s (he married at the age of 38), finally meeting Sklar through his agent and falling for her when she failed to get his sense of humor. They had two children, Mindy and Larry Rickles. According to Rickles’ memoir, his grandchildren, Ethan and Harrison Mann, are much more impressed by his role as Mr. Potato Head than by any of his other achievements.

Although a lifelong Democrat, Rickles performed at the inaugurations of Republican presidents Ronald Reagan and George H. W. Bush with his friend Frank Sinatra. He considered comedian Bob Newhart to be his best friend, and their wives were also close friends. Rickles and Newhart appeared together on The Tonight Show with Jay Leno on January 24, 2005, the Monday following Johnny Carson’s death, reminiscing about their many guest appearances on Carson’s show. The two also appeared together on the television sitcom Newhart, and for previous episodes of The Tonight Show, where Newhart or Rickles were guest-hosts. They and their wives often vacationed together.

 

Death

Rickles died of kidney failure on April 6, 2017, at his home in Beverly Hills, California; he was 90 years old. He was interred at Mount Sinai Memorial Park Cemetery.

 

Tributes

Upon hearing of his death, a number of television hosts and other actors paid tribute to his comedy talents. Among them was a tribute by Jimmy Kimmel, who recalled Rickles as a “towering presence in Las Vegas,” where Kimmel grew up. Seth Meyers, said “there’s nothing better than getting burned by Don Rickles,” while David Letterman noted that Rickles “was always a highlight for me. Just endless mischief and nonsense, and a guy who would make the audience go completely crazy.”

Director Martin Scorsese, who directed him in Casino in 1995, stated:

Don Rickles was a giant, a legend … and I can hear his voice now, skewering me for being so lofty. I had the honor of working with him on my picture Casino. He was a professional. He kept me doubled over with laughter every day on the set — yet he was a complete pro.

For Rickles’ 88th birthday in 2014, a number of stars helped celebrate with a televised special, One Night Only: An All Star Tribute to Don Rickles. Among them was Jerry Seinfeld, who described Rickles as part of “the Mount Rushmore of stand-up comedy.”

 

 

 

 

Gary Busey

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William Gary Busey (born June 29, 1944) is an American actor. A prolific character actor, Busey has appeared in over 150 films, including Lethal Weapon (1987), Predator 2 (1990), Point Break (1991), Under Siege (1992), The Firm (1993), Carried Away (1996), Black Sheep (1996), Lost Highway (1997), Fear and Loathing in Las Vegas (1998), The Gingerdead Man (2005) and Piranha 3DD (2012). Busey has also made guest appearances on television shows such as Gunsmoke, Walker, Texas Ranger, Law & Order, Scrubs, and Entourage.

For portraying Buddy Holly in The Buddy Holly Story (1978), Busey was nominated for the Academy Award for Best Actor and won the National Society of Film Critics Award for Best Actor. In 2014, he lampooned his public image through a series of advertisements for Amazon Fire TV.

 

Early life

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Busey was born in Goose Creek, Texas, the son of Sadie Virginia (née Arnett), a homemaker, and Delmer Lloyd Busey, a construction design manager. He graduated from Nathan Hale High School in Tulsa, Oklahoma, in 1962. While attending Pittsburg State University in Pittsburg, Kansas, on a football scholarship, he became interested in acting. He then transferred to Oklahoma State University in Stillwater, Oklahoma, where he quit school just one class short of graduation.

 

Career

Early career

Busey began his show business career as a drummer in The Rubber Band. He appears on several Leon Russell recordings, credited as playing drums under the names “Teddy Jack Eddy” and “Sprunk,” a character he created when he was a cast member of a local television comedy show in Tulsa, Oklahoma, called The Uncanny Film Festival and Camp Meeting on station KTUL (which starred fellow Tulsan Gailard Sartain as “Dr. Mazeppa Pompazoidi”). For his skits on Uncanny Film Festival, Busey drew on his American Hero, belligerent, know-it-all character. When he told Gailard Sartain his character needed a name, Sartain replied, “Take three: Teddy, Jack ,and Eddy.”

He played in a band called Carp, which released one album on Epic Records in 1969. Busey continued to play several small roles in both film and television during the 1970s. In 1975, as the character “Harvey Daley,” he was the last person killed on the series Gunsmoke (in the third-to-last episode, No. 633 – “The Busters”).

 

Rise to prominence

In 1974, Busey made his major film debut with a supporting role in Michael Cimino‘s buddy action caper Thunderbolt and Lightfoot, starring Clint Eastwood and Jeff Bridges.

In 1976, he was hired by Barbra Streisand and her producer-boyfriend Jon Peters to play Bobby Ritchie, road manager to Kris Kristofferson‘s character in the remake film A Star is Born. On the DVD commentary of the film, Streisand says Busey was great and that she had seen him on a TV series and thought he had the right qualities to play the role.

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In 1978, he starred as rock legend Buddy Holly in The Buddy Holly Story with Sartain as The Big Bopper. For his performance, Busey received the greatest critical acclaim of his career and the movie earned Busey an Academy Award nomination for Best Actor and the National Society of Film CriticsBest Actor award.

screenshot-2017-03-03-12-03-51In the same year he also starred in the small yet acclaimed drama Straight Time and the surfing movie Big Wednesday, which is now a minor cult classic.

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screenshot-2017-03-03-12-06-10In the 1980s, Busey’s roles included the critically acclaimed western Barbarosa, the comedies D.C. Cab and Insignificance, and the Stephen King adaptation Silver Bullet. He played one of the primary antagonists opposite Mel Gibson and Danny Glover in the action comedy Lethal Weapon.

In the 1990s, he had prominent supporting roles in successful action films such as Predator 2, Point Break and Under Siege. He also appeared in Rookie of the Year, The Firm, Black Sheep, Lost Highway, and Fear and Loathing in Las Vegas.

Busey sang the song “Stay All Night” on Saturday Night Live in March 1979 (season 4, episode 14), and on the Late Show with David Letterman in the 1990s.

 

2000s–present

screenshot-2017-03-03-12-04-44In 2003, Busey starred in a Comedy Central reality show, I’m with Busey. In 2005, he also voiced himself in an episode of The Simpsons and appeared in the popular miniseries Into the West. Busey controversially appeared in the 2006 Turkish nationalist film Valley of the Wolves: Iraq, (Kurtlar Vadisi: Irak, in Turkish), which was accused of fascism, anti-Americanism, and anti-Semitism.

In 2007, he appeared as himself in a prominent recurring role on HBO‘s Entourage, in which he parodied his eccentric image, ultimately appearing on three episodes of the show.

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In 2008, he joined the second season of the reality show Celebrity Rehab with Dr. Drew. Busey returned to reality television in Celebrity Apprentice 4, which premiered in March 2011, and appeared again in Celebrity Apprentice 6. There, he briefly reprised his role as Buddy Holly by performing “Not Fade Away”.

In a series of 2010 YouTube advertisements for Vitamin Water, Busey appeared as Norman Tugwater, a lawyer who defends professional athletes’ entitlements to a cut from Fantasy Football team owners.

In 2014, he became a celebrity spokesperson for Amazon Fire TV. That August, he appeared in, and became the first American winner of the fourteenth series of the UK version of Celebrity Big Brother.

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On September 1, 2015, it was announced that he would be competing on the 21st season of Dancing with the Stars. He was paired with professional dancer Anna Trebunskaya. Busey and Trebunskaya made it to Week 4 of competition but were then eliminated and finished in 10th place.

 

Personal life

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In 1971, Busey’s wife Judy Helkenberg gave birth to their son, William Jacob “Jake” Busey. Busey and Helkenberg divorced when Jake was 19 years old. Busey has a daughter named Alectra from a previous relationship. In February 2010, Busey’s fiancee Steffanie Sampson gave birth to their son, Luke Sampson Busey.

On December 4, 1988, Busey was severely injured in a motorcycle accident in which he was not wearing a helmet. His skull was fractured, and doctors feared he suffered permanent brain damage. During the filming of the second season of Celebrity Rehab in 2008, Busey was referred to psychiatrist Dr. Charles Sophy. Sophy suspected that Busey’s brain injury has had a greater effect on him than realized. He described it as essentially weakening his mental “filters” and causing him to speak and act impulsively. Sophy recommended Busey take valproic acid (Depakote), with which Busey agreed.

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In 1996, Busey publicly announced that he was a Christian, saying: “I am proud to tell Hollywood I am a Christian. For the first time I am now free to be myself.” This return to Christianity occurred as a result of his motorcycle accident, as well as a 1995 cocaine overdose.

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In 2011, Busey supported Donald Trump‘s 2012 presidential bid saying, “For the American people, vote for Donald Trump come election night.” In 2015, he again endorsed Trump for president.

How to calm your nervous system

Take a deep breath, expanding your belly. Pause. Exhale slowly to the count of five. Repeat four times.

Congratulations. You’ve just calmed your nervous system.

Here are three basic breathing exercises to try on your own.

 If you have the time to learn only one technique, this is the one to try. In coherent breathing, the goal is to breathe at a rate of five breaths per minute, which generally translates into inhaling and exhaling to the count of six. If you have never practiced breathing exercises before, you may have to work up to this practice slowly, starting with inhaling and exhaling to the count of three and working your way up to six.

  1. Sitting upright or lying down, place your hands on your belly.
  2. Slowly breathe in, expanding your belly, to the count of five.
  3. Pause.
  4. Slowly breathe out to the count of six.
  5. Work your way up to practicing this pattern for 10 to 20 minutes a day.

Stress Relief

When your mind is racing or you feel keyed up, try Rock and Roll breathing, which has the added benefit of strengthening your core.

  1. Sit up straight on the floor or the edge of a chair.
  2. Place your hands on your belly.
  3. As you inhale, lean forward and expand your belly.
  4. As you exhale, squeeze the breath out and curl forward while leaning backward; exhale until you’re completely empty of breath.
  5. Repeat 20 times.

When the mid-afternoon slump hits, stand up and do some quick breath-work to wake up your mind and body.

  1. Stand up tall, elbows bent, palms facing up.
  2. As you inhale, draw your elbows back behind you, palms continuing to face up.
  3. Then exhale quickly, thrusting your palms forward and turning them downward, while saying “Ha” out loud.
  4. Repeat quickly 10 to 15 times.

Mary Tyler Moore

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Mary Tyler Moore (December 29, 1936 – January 25, 2017) was an American actress, known for her roles in the television sitcoms The Mary Tyler Moore Show (1970–1977), in which she starred as Mary Richards, a thirty-something single woman who worked as a local news producer in Minneapolis, and The Dick Van Dyke Show (1961–1966), in which she played Laura Petrie, a former dancer turned Westchester homemaker, wife and mother. Her notable film work includes 1967’s Thoroughly Modern Millie and 1980’s Ordinary People, in which she played a role that was very different from the television characters she had portrayed, and for which she was nominated for an Academy Award for Best Actress.

Moore was active in charity work and various political causes, particularly the issues of animal rights and diabetes mellitus type 1. She was diagnosed with type 1 diabetes early in the run of The Mary Tyler Moore Show. She also suffered from alcoholism, which she wrote about in her first of two memoirs. In May 2011, Moore underwent elective brain surgery to remove a benign meningioma. She died from cardiopulmonary arrest because of pneumonia at the age of 80 on January 25, 2017.

Early life

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Moore was born in the Brooklyn Heights section of Brooklyn, New York, to Marjorie (née Hackett) (1916–92) and George Tyler Moore (1913–2006), a clerk. The oldest of three children (her siblings are John and Elizabeth), Moore and her family lived in Flushing, Queens. Her paternal great-grandfather, Lieutenant Colonel Lewis Tilghman Moore, owned the house which is now Stonewall Jackson’s Headquarters Museum. When she was eight years old, Moore moved with her family to Los Angeles. She was raised Catholic, and attended St. Rose de Lima Parochial School in Brooklyn, Saint Ambrose School in Los Angeles, and Immaculate Heart High School in Hollywood.

Career

Television

Moore decided at age 17 that she wanted to be a dancer. Her television career began with her first job, as “Happy Hotpoint”, a tiny elf dancing on Hotpoint appliances TV commercials during the 1950s series Ozzie and Harriet. After appearing in 39 Hotpoint commercials in five days, she received approximately $6,000. After she became pregnant while still working as “Happy,” Hotpoint ended her stint when it became too difficult to conceal her pregnancy beneath the elf costume. Moore modeled anonymously on the covers of a number of record albums and auditioned for the role of the older daughter of Danny Thomas for his long-running TV show but was turned down. Much later, Thomas explained that “no daughter of mine could have that [little] nose.”

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Moore’s first regular television role was as a mysterious and glamorous telephone receptionist on Richard Diamond, Private Detective. On the show, Moore’s voice was heard, but only her shapely legs appeared on camera, adding to the character’s mystique. About this time, she guest-starred on John Cassavetes‘s NBC detective series Johnny Staccato. She also guest-starred in Bachelor Father in the episode titled “Bentley and the Big Board.” In 1960, she guest-starred in two episodes, “The O’Mara Ladies” and “All The O’Mara Horses,” of the William BendixDoug McClure NBC western series, Overland Trail. Several months later, she appeared in the first episode, entitled “One Blonde Too Many,” of NBC’s The Tab Hunter Show, a sitcom starring the former teen idol as a bachelor cartoonist. In 1961, Moore appeared in several big parts in movies and on television, including Bourbon Street Beat, 77 Sunset Strip, Surfside Six, Wanted: Dead or Alive, Steve Canyon, Hawaiian Eye, Thrillerand Lock-Up.

 

The Dick Van Dyke Show (1961–1966)

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screenshot-2017-02-18-14-59-33In 1961, Carl Reiner cast Moore in The Dick Van Dyke Show, an acclaimed weekly series based on Reiner’s own life and career as a writer for Sid Caesar‘s television variety show, telling the cast from the outset that it would run no more than five years. The show was produced by Danny Thomas‘s company, and Thomas himself recommended her. He remembered Mary as “the girl with three names” whom he had turned down earlier. Moore’s energetic comic performances as Van Dyke’s character’s wife, begun at age 24 (11 years Van Dyke’s junior), made both the actress and her signature tight Capri pants extremely popular, and she became internationally famous. When she won an Emmy award for her portrayal of Laura Petrie, she said, “I know this will never happen again.”

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The Mary Tyler Moore Show (1970–1977)

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In 1970, after having appeared earlier in a pivotal one-hour musical special called “Dick Van Dyke and the Other Woman,” Moore and husband Grant Tinker successfully pitched a sitcom centered on Moore to CBS. The Mary Tyler Moore Show is a half-hour newsroom sitcom featuring Ed Asner as her gruff boss Lou Grant, a character that would later be spun off into an hour-long dramatic series. Moore’s show proved so popular that two other regular characters, Valerie Harper as Rhoda Morgenstern and Cloris Leachman as Phyllis Lindstrom, were also spun off into their own series. The premise of the single working woman’s life, alternating during the program between work and home, became a television staple.

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After six years of ratings in the top 20, the show slipped to number 39 during season seven. Producers argued for its cancellation because of falling ratings, afraid that the show’s legacy might be damaged if it were renewed for another season. To the surprise of the entire cast including Mary Tyler Moore herself, it was announced that they would soon be filming their final episode. After the announcement, the series had a strong finish and the final show was the seventh most watched show during the week it aired. The 1977 season would go on to win an Emmy Award for Outstanding Comedy Series, to add to the awards it had won in 1975 and 1976. All in all, during its seven seasons, the program held the record for winning the most Emmys – 29. That record remained unbroken until 2002 when the NBC sitcom Frasier won its 30th Emmy. The Mary Tyler Moore Show became a touch-point of the Women’s Movement because it was one of the first to show, in a serious way, an independent working woman.

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Later projects

During season six of The Mary Tyler Moore Show, Moore appeared in a musical/variety special for CBS titled Mary’s Incredible Dream, which featured Ben Vereen. In 1978, she starred in a second CBS special, How to Survive the ’70s and Maybe Even Bump Into Happiness. This time, she received significant support from a strong lineup of guest stars: Bill Bixby, John Ritter, Harvey Korman and Dick Van Dyke. In the 1978–79 season, Moore attempted to try the musical-variety genre by starring in two unsuccessful CBS variety series in a row: Mary, which featured David Letterman, Michael Keaton, Swoosie Kurtz and Dick Shawn in the supporting cast. CBS canceled the series. In March 1979, the network brought Moore back in a new, retooled show, The Mary Tyler Moore Hour, which was described as a “sit-var” (part situation comedy/part variety series) with Moore portraying a TV star putting on a variety show. Michael Keaton was the only cast member of Mary who remained with Moore as a supporting regular in this revised format. Dick Van Dyke appeared as her guest for one episode. The program was canceled within three months.

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In the 1985–86 season, she returned to CBS in a series titled Mary, which suffered from poor reviews, sagging ratings, and internal strife within the production crew. According to Moore, she asked CBS to pull the show as she was unhappy with the direction of the program and the producers. She also starred in the short-lived Annie McGuire in 1988. In 1995, after another lengthy break from TV series work, Moore was cast as tough, unsympathetic newspaper owner Louise “the Dragon” Felcott on the CBS drama New York News, her third series in which her character worked in the news industry. As with her previous series Mary (1985), Moore quickly became unhappy with the nature of her character and asked to be written out of New York News; the series, however, was canceled before the writers could remove her.

In the mid-1990s, Moore had a cameo and a guest-starring role as herself on two episodes of Ellen. She also guest-starred on Ellen DeGeneres‘s next TV show, The Ellen Show, in 2001. In 2004, Moore reunited with her Dick Van Dyke Show cast-mates for a reunion “episode” called The Dick Van Dyke Show Revisited.

In August 2005, Moore guest-starred as Christine St. George, a high-strung host of a fictional TV show, on three episodes of Fox sitcom That ’70s Show. Moore’s scenes were shot on the same soundstage where The Mary Tyler Moore Show was filmed in the 1970s. Moore made a guest appearance on the season 2 premiere of Hot in Cleveland, which starred her former co-star Betty White. This marked the first time that White and Moore had worked together since The Mary Tyler Moore Show ended in 1977. In the fall of 2013, Moore reprised her role on Hot in Cleveland in a season four episode which not only reunited Moore and White, but also former MTM cast members Cloris Leachman, Valerie Harper and Georgia Engel as well. This reunion coincided with Harper’s public announcement that she had been diagnosed with terminal brain cancer and was given only a few months to live.

Theater

Moore appeared in several Broadway plays. She starred in Whose Life Is It Anyway with James Naughton, which opened on Broadway at the Royale Theatre on February 24, 1980, and ran for 96 performances, and in Sweet Sue, which opened at the Music Box Theatre on January 8, 1987, later transferred to the Royale Theatre, and ran for 164 performances. She was the star of a new musical version of Breakfast at Tiffany’s in December 1966, but the show, titled Holly Golightly, was a flop that closed in previews before opening on Broadway. In reviews of performances in Philadelphia and Boston, critics “murdered” the play in which Moore claimed to be singing with bronchial pneumonia.

Moore appeared in previews of the Neil Simon play Rose’s Dilemma at the off-Broadway Manhattan Theatre Club in December 2003 but quit the production after receiving a critical letter from Simon instructing her to “learn your lines or get out of my play.” Moore had been using an earpiece on stage to feed her lines to the repeatedly rewritten play.

During the 1980s, Moore and her production company produced five plays: Noises Off, The Octette Bridge Club, Joe Egg, Benefactors, and Safe Sex.

 

Films

 Moore made her film debut in 1961’s X-15. She subsequently appeared in a string of 1960s films (after signing an exclusive contract with Universal Pictures), including 1967’s Thoroughly Modern Millie with Julie Andrews, and the 1968 films What’s So Bad About Feeling Good? with George Peppard, and Don’t Just Stand There! with Robert Wagner.

In 1969, she starred opposite Elvis Presley as a nun in Change of Habit. Moore’s future television cast-mate Ed Asner also appeared in that film (as a cop). After that film’s disappointing reviews and reception at the box office, Moore returned to television, and did not appear in another feature film for eleven years. She received her only nomination for the Academy Award for Best Actress for her role in the 1980 coming-of-age drama Ordinary People, in which she portrayed a grieving mother unable to cope with the drowning death of one of her sons and unable to cope with the other son for his attempted suicide. Other feature film credits include Six Weeks (1982), Just Between Friends (1986) and Flirting with Disaster (1996).

She appeared in a number of television movies, including Like Mother, Like Son, Run a Crooked Mile, Heartsounds, The Gin Game (based on the Broadway play; reuniting her with Dick Van Dyke), Mary and Rhoda, Finnegan Begin Again, and Stolen Babies for which she won an Emmy Award in 1993.

 

Author

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Moore wrote two memoirs. In the first, After All, released in 1995, she acknowledged that she was a recovering alcoholic. The next, Growing Up Again: Life, Loves, and Oh Yeah, Diabetes, was released on April 1, 2009, and focuses on living with Type 1 diabetes.

MTM Enterprises

 Moore and her husband Grant Tinker founded MTM Enterprises, Inc. in 1969; Moore later commented that he had named the entity after her in much the same fashion that someone might name a boat after a spouse. This company produced The Mary Tyler Moore Show and several other television shows and films. It also included a record label, MTM Records MTM Enterprises produced a variety of American sitcoms and drama television series such as Rhoda, Lou Grant and Phyllis (all spin-offs from The Mary Tyler Moore Show), The Bob Newhart Show, The Texas Wheelers, WKRP in Cincinnati, The White Shadow, Friends and Lovers, St Elsewhere and Hill Street Blues, and was later sold to Television South, an ITV Franchise holder during the 1980s. The MTM logo is very similar to the Metro Goldwyn Mayer logo, but features Moore’s cat Mimsie instead of the lion.

Personal life

Family

 In 1955, at age 18, Moore married Richard Carleton Meeker, whom she described as “the boy next door.” and within six weeks she was pregnant with her only child, Richard Jr. (born July 3, 1956). Meeker and Moore divorced in 1961. Moore married Grant Tinker, a CBS executive (later chairman of NBC), in 1962, and in 1970 they formed the television production company MTM Enterprises, which created and produced the company’s first television series, The Mary Tyler Moore Show.

On October 14, 1980, at the age of 24, Moore’s son Richard died of an accidental gunshot to the head while handling a sawed off shotgun. The model was later taken off the market because of its “hair trigger.” Moore and Tinker divorced in 1981.

Moore married Dr. Robert Levine on November 23, 1983, at the Pierre Hotel in New York City. They met when her mother was treated by him in New York City on a weekend house call, after Moore and her mother returned from a visit to the Vatican where they had had a personal audience with Pope John Paul II.

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Health

Moore was diagnosed with Type I diabetes when she was 33. In 2011, she had surgery to remove a meningioma, a benign brain tumor. In 2014 friends reported that she had heart and kidney problems and was nearly blind. In October 2015, Moore’s former co-star Dick Van Dyke said on an episode of Larry King Now, “[Diabetes] has taken a toll on her; she’s not well at all.” She died on January 25, 2017, after she had been placed on a respirator the previous week.

Charity work

In addition to her acting work, Moore was the International Chairman of JDRF (formerly the Juvenile Diabetes Research Foundation). In this role, she used her celebrity to help raise funds and awareness of diabetes mellitus type 1.

In 2007, in honor of Moore’s dedication to the Foundation, JDRF created the “Forever Moore” research initiative which will support JDRF’s Academic Research and Development and JDRF’s Clinical Development Program. The program works on translating basic research advances into new treatments and technologies for those living with type 1 diabetes.

A long-time animal rights activist, Moore worked with Farm Sanctuary to raise awareness about the process involved in factory farming and to promote compassionate treatment of farm animals. Moore appeared as herself in 1996 on an episode of the Ellen DeGeneres sitcom Ellen. The storyline of the episode includes Moore honoring Ellen for trying to save a 65-year-old lobster from being eaten at a seafood restaurant. She was also a co-founder of Broadway Barks, an annual animal adopt-a-thon held in New York City. Moore and friend Bernadette Peters worked to make it a no-kill city and to encourage adopting animals from shelters.

In honor of her father, George Tyler Moore, a lifelong American Civil War enthusiast, in 1995 Moore donated funds to acquire an historic structure in Shepherdstown, West Virginia, for Shepherd College (now Shepherd University) to be used as a center for Civil War studies. The center, named the George Tyler Moore Center for the Study of the Civil War, is housed in the historic Conrad Shindler House (c. 1795), which is named in honor of her great-great-great-grandfather, who owned the structure from 1815 to 1852. Moore also contributed to the renovation of the house used as headquarters during 1861–62 by Confederate Major General Thomas J. “Stonewall” Jackson. Use of the house had been offered to Jackson by its owner, Lieutenant Colonel Lewis Tilghman Moore, commander of the 4th Virginia Infantry and a great-grandfather of Mary Tyler Moore.

Politics

 During the 1960s and 1970s, Moore had a reputation as a liberal or moderate liberal and endorsed President Jimmy Carter for re-election in a 1980 campaign television ad. In 2011, friend and former co-star Ed Asner claimed during an interview on the O’Reilly Factor that Moore “has become much more conservative of late.” Bill O’Reilly, host of the O’Reilly Factor, has previously stated that Moore had been a viewer of his show and her political views had leaned conservative in recent years. In a Parade magazine article from March 22, 2009, Moore identified herself as a “libertarian centrist” who watches Fox News. She stated, “…when one looks at what’s happened to television, there are so few shows that interest me. I do watch a lot of Fox News. I like Charles Krauthammer and Bill O’Reilly…If McCain had asked me to campaign for him, I would have.” In an interview for the 2013 PBS series Pioneers of Television, Moore says that she was “recruited” to join the feminist movement of the 1970s by Gloria Steinem but did not agree with Steinem’s views. Moore said she believed that women have an important role in raising children and that she did not believe in Steinem’s view that “women owe it to themselves to have a career.”

Awards

In 1980, Moore was nominated for the Academy Award for Best Actress for her role in the drama film Ordinary People, but lost to Sissy Spacek for her role in Coal Miner’s Daughter.

Moore received a total of six Emmy Awards. Five of those awards (1964, 1966, 1973, 1974, 1976) tie her with Candice Bergen and Julia Louis-Dreyfus for the most wins for Outstanding Lead Actress in a Comedy Series.

On Broadway, Moore received a special Tony Award for her performance in Whose Life Is It Anyway? in 1980, and was nominated for a Drama Desk Award as well. In addition, as a producer, she received nominations for Tony Awards and Drama Desk Awards for MTM’s productions of Noises Off in 1984 and Benefactors in 1986, and won a Tony Award for Best Reproduction of a Play or Musical in 1985 for Joe Egg.

In 1986, she was inducted into the Television Hall of Fame. Then, in 1987, she received a Lifetime Achievement Award in Comedy from the American Comedy Awards.

Moore’s contributions to the television industry were recognized in 1992 with a star on the Hollywood Walk of Fame. The star is located at 7021 Hollywood Boulevard.

On May 8, 2002, Moore was present when cable network TV Land and the City of Minneapolis dedicated a statue in downtown Minneapolis of the television character she made famous on The Mary Tyler Moore Show. The statue, by sculptor Gwendolyn Gillen, was located in front of the Dayton’s department store – now Macy’s – near the corner of 7th Street South and Nicollet Mall. It depicts the iconic moment in the show’s opening credits where Moore tosses her Tam o’ Shanter in the air, in a freeze-frame at the end of the montage. While Dayton’s is clearly seen in the opening sequence, the store in the background of the hat toss is actually Donaldson’s, which was, like Dayton’s, a locally based department store with a long history and which was cater-cornered from Dayton’s. In late 2015 the statue was placed in storage during renovations to the mall, and in December it was relocated to the city’s visitor center, where it will remain until the renovation is complete in 2017, after which it is planned to be returned to its original location.

Moore was awarded the 2011 Screen Actors Guild’s lifetime achievement award. In New York City in 2012, Moore and Bernadette Peters were honored by the Ride of Fame and a double-decker bus was dedicated to them.

Buddy Hackett

Buddy Hackett (born Leonard Hacker; August 31, 1924 – June 30, 2003) was an American comedian and actor. His best remembered roles include Marcellus Washburn in The Music Man (1962), Benjy Benjamin in It’s a Mad, Mad, Mad, Mad World (1963), Tennessee Steinmetz in The Love Bug (1968), and Scuttle in The Little Mermaid (1989).

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Early life

Hackett was born in Brooklyn, New York to Anna (née Geller) and Philip Hacker, an upholsterer and part-time inventor. He grew up on 54th and 14th Ave in Borough Park, Brooklyn, across from Public School 103 (now a yeshiva). He graduated from New Utrecht High School in 1942.

While still a student, he began performing in nightclubs in the Catskills Borscht Belt resorts as “Butch Hacker.” He appeared first at the Golden Hotel in Hurleyville, New York, and he claimed he did not get a single laugh. He enlisted in the United States Army during World War II, and served for three years in an anti-aircraft battery.

 

Career

 Early career

Hackett’s first job after the war was at the Pink Elephant, a Brooklyn club. It was here he changed his name from Leonard Hacker to Buddy Hackett. He made appearances in Los Angeles and Las Vegas, and continued to perform in the Catskills. He acted on Broadway, in Lunatics and Lovers, where Max Liebman saw him and put him in two television specials.

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Hackett’s movie career began in 1950 with a 10-minute “World of Sports” reel for Columbia Pictures called King of the Pins. The film demonstrated championship bowling techniques, with expert Joe Wilman demonstrating the right way and Hackett (in pantomime) exemplifying the wrong way. Hackett would not return to movies until 1953, after one of his nightclub routines attracted attention. With a rubber band around his head to slant his eyes, Hackett’s “The Chinese Waiter” lampooned the heavy dialect, frustration, and communication problems encountered by a busy waiter in a Chinese restaurant: “No, we no have sprit-pea soup … We gotta wonton, we got eh-roll … No orda for her, juss orda for you!” The routine was such a hit, Hackett made a recording of it, and was hired to reprise it in the Universal-International musical Walking My Baby Back Home (1953), in which he was third-billed under Donald O’Connor and Janet Leigh.

Hackett was an emergency replacement for the similarly built Lou Costello in 1954. Abbott and Costello were set to make a feature-length comedy Fireman, Save My Child, featuring Spike Jones and His City Slickers. Several scenes had been shot with stunt doubles when Lou Costello was forced to withdraw due to illness. Universal-International salvaged the project by hiring Hugh O’Brian and Hackett to take over the Abbott and Costello roles, using already shot footage of the comedy duo in some long shots; Jones and his band became the main attraction.

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Hackett became known to a wider audience when he appeared on television in the 1950s and ’60s as a frequent guest on variety talk shows hosted by Jack Paar and Arthur Godfrey, telling brash, often off-color jokes, and mugging at the camera. Hackett was a frequent guest on both the Jack Paar and the Johnny Carson versions of The Tonight Show. According to the board game Trivial Pursuit, Hackett has the distinction of making the most guest appearances in the history of The Tonight Show Starring Johnny Carson.

screenshot-2017-01-15-15-50-04During this time, he also appeared as a panelist and mystery guest on CBS-TV’s What’s My Line? and filled in as emcee for the game show Treasure Hunt. He made fifteen guest appearances on NBC-TV’s The Perry Como Show between 1955 and 1961.

Stanley

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Hackett starred as the title character on NBC-TV’s Stanley, a 1956-57 situation comedy which ran for 19 weeks on Monday evenings at 8:30 pm EST. The half hour series also featured a young Carol Burnett and the voice of Paul Lynde. The Max Liebman produced program aired live before a studio audience and was one of the last sitcoms from New York to do so. Stanley revolved around the adventures of the titular character (Hackett) as the operator of a newsstand in a posh New York City hotel. On September 30, 1960, he appeared as himself in an episode of NBC’s short-lived crime drama Dan Raven, starring Skip Homeier, set on the Sunset Strip of West Hollywood.

screenshot-2017-01-15-15-53-29After starring on Broadway in I Had a Ball, Hackett appeared opposite Robert Preston in the film adaptation of The Music Man (1962). In It’s a Mad, Mad, Mad, Mad World (1963), Hackett was paired with Mickey Rooney, with whom he had also recently made Everything’s Ducky (1961), in which they played two sailors who smuggle a talking duck aboard a Navy ship. Children became familiar with him as lovable hippie auto mechanic Tennessee Steinmetz in Disney‘s The Love Bug (1969).

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He appeared many times on the game show Hollywood Squares in the late 1960s. In one episode, Hackett was asked which was the country with the highest ratio of doctors to populace; he answered Israel, or in his words, “The country with the most Jews.” Despite the audience roaring with laughter (and Hackett’s own belief that the actual answer was Sweden), the answer turned out to be correct. Hackett’s regular guest shots on Jack Paar’s Tonight Show in the early 1960s were rewarded with a coveted appearance on his final program on March 29, 1962.

Later career

Hackett continued to appear on Johnny Carson’s Tonight Show until Carson left the series in 1992.

screenshot-2017-01-15-16-07-25In 1978, Hackett surprised many with his dramatic performance as Lou Costello in the television movie Bud and Lou opposite Harvey Korman as Bud Abbott. The film told the story of Abbott and Costello, and Hackett’s portrayal was widely praised. He and Korman did a memorable rendition of the team’s famous “Who’s on First?” routine. In 1979, Hackett was the voice of the groundhog “Pardon Me Pete,”,and the narrator of the Rankin/Bass Christmas special Jack Frost (1979). He starred in the 1980 film Hey Babe!. That same year, he hosted a syndicated revival of the 1950-61 Groucho Marx quiz show You Bet Your Life which lasted for one year. Throughout the 1970s Hackett appeared regularly in TV ads for Tuscan Dairy popsicles and yogurt. But his most famous television campaign was for Lay’s potato chips (“Nobody can eat just one!”) which ran from 1968–71; Hackett had succeeded Bert Lahr as Lay’s spokesman. He guest-starred in the Space Rangers episode, “To Be Or Not To Be,” as has-been comedian Lenny Hacker, a parody of his stage persona. The character’s name was Hackett’s own real name.

 

Other

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For his contribution to the motion picture industry, Hackett was given a star on the Hollywood Walk of Fame. In 2000, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him.

In April 1998, Hackett guest starred in an episode of LateLine called “Buddy Hackett.” The episode focused on a news broadcast paying tribute to Hackett following his death, only to discover that the report of his death was a mistake. Robert Reich and Dick Gephardt also appeared in the episode, paying tribute to Hackett.

In his final years, Hackett had a recurring spot called “Tuesdays with Buddy” on The Late Late Show with Craig Kilborn in which he shared stories of his career and delivered some of his comedic routines.

 

Personal life

screenshot-2017-01-15-16-05-36On June 12, 1955, Hackett married Sherry Cohen. They lived in Leonia, New Jersey in the late 1950s. In August 1958, they bought the house previously owned by deceased crime boss Albert Anastasia in Fort Lee, New Jersey. After renovations, they moved in and lived there through most of the 1960s. In 2003, Hackett and his wife established the Singita Animal Sanctuary in California’s San Fernando Valley.

He was an avid firearms collector and owned a large collection that he sold off in his later years due to declining health.

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Death

Hackett died on June 30, 2003 at his beach house in Malibu, California at the age of 78. His son, comedian Sandy Hackett, said his father had been suffering from diabetes for several years and suffered a stroke nearly a week before his death which may have contributed to his demise. Two days later, on July 2, 2003, he was cremated and his ashes were given to family and friends.

 

 

 

Carol Burnett

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Carol Creighton Burnett (born April 26, 1933) is an American actress, comedian, singer, and writer, whose career spans six decades of television. She is best known for her long-running TV variety show, The Carol Burnett Show, originally aired on CBS. She has achieved success on stage, television, and film in varying genres including dramatic and comedy roles. She also has appeared on various talk shows and as a panelist on game shows.

Born in San Antonio, Texas, Burnett moved with her grandmother to Hollywood, where she attended Hollywood High School and eventually studied theater and musical comedy at UCLA. Later she performed in nightclubs in New York City and had a breakout success on Broadway in 1959 in Once Upon a Mattress, for which she received a Tony Award nomination. She soon made her television debut, regularly appearing on The Garry Moore Show for the next three years, and won her first Emmy Award in 1962. In 1963, she was the star of the Dallas State Fair Musicals presentation of “Calamity Jane.” Burnett moved to Los Angeles and began an 11-year run as star of The Carol Burnett Show on CBS television from 1967 to 1978. With its vaudeville roots, The Carol Burnett Show was a variety show that combined comedy sketches with song and dance. The comedy sketches included film parodies and character pieces. Burnett created many memorable characters during the show’s run, and both she and the show won numerous Emmy and Golden Globe Awards.

During and after her variety show, Burnett appeared in many television and film projects. Her film roles include Pete ‘n’ Tillie (1972), The Front Page (1974), The Four Seasons (1981), Annie (1982), Noises Off (1992), and Horton Hears a Who! (2008). On television, she has appeared in other sketch shows; in dramatic roles in 6 Rms Riv Vu (1974) and Friendly Fire (1979); in various well-regarded guest roles, such as in Mad About You, for which she won an Emmy Award; and in specials with Julie Andrews, Dolly Parton, Beverly Sills, and others. She returned to the Broadway stage in 1995 in Moon Over Buffalo, for which she was again nominated for a Tony.

 

Early life

screenshot-2016-12-11-18-18-23Burnett was born on April 26, 1933, the daughter of Ina Louise (née Creighton), a publicity writer for movie studios, and Joseph Thomas Burnett, a movie theater manager. Both of her parents were alcoholics, and at a young age, she was left with her grandmother, Mabel Eudora White. Burnett’s parents divorced in the late 1930s, and she and her grandmother moved to an apartment near Burnett’s mother’s in an impoverished area of Hollywood. There they stayed in a boarding house with Burnett’s younger half-sister, Chrissie. When Burnett was in second grade, she briefly invented an imaginary twin sister named Karen, with Shirley Temple-like dimples. Motivated to further the pretence, Burnett fondly recalls that she “fooled the other boarders in the rooming house where we lived by frantically switching clothes and dashing in and out of the house by the fire escape and the front door. Then I became exhausted and Karen mysteriously vanished.”

For a while, she worked as an usherette at what is now the Hollywood Pacific Theatre (the forecourt of which is now the location of her star on the Hollywood Walk of Fame. After graduating from Hollywood High School in 1951, Burnett received an anonymous envelope containing $50 for one year’s tuition at UCLA, where she initially planned on studying journalism. During her first year of college, Burnett switched her focus to theater arts and English, with the goal of becoming a playwright. She found she had to take an acting course to enter the playwright program — “I wasn’t really ready to do the acting thing, but I had no choice,” she recalled. She followed a sudden impulse in her first performance.

“Don’t ask me why, but when we were in front of the audience, I suddenly decided I was going to stretch out all my words and my first line came out ‘I’m baaaaaaaack!'” The audience response moved her deeply:

“They laughed and it felt great. All of a sudden, after so much coldness and emptiness in my life, I knew the sensation of all that warmth wrapping around me. I had always been a quiet, shy, sad sort of girl and then everything changed for me. You spend the rest of your life hoping you’ll hear a laugh that great again.”

During this time, Burnett performed in several university productions, garnering recognition for her comedic and musical abilities. Her mother disapproved of her acting ambitions:

“She wanted me to be a writer. She said you can always write, no matter what you look like. When I was growing up she told me to be a little lady, and a couple of times I got a whack for crossing my eyes or making funny faces. Of course, she never, I never, dreamed I would ever perform.”

The young Burnett, always insecure about her looks, responded many years afterward to her mother’s advice, “You can always write, no matter what you look like,” in Burnett’s memoir One More Time (1986), noting, “God, that hurt!”

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During her senior year at UCLA, a professor invited Burnett and some other students to perform at a party in place of their class final that had been canceled (which required a performance in front of an audience). Afterward, a man and his wife approached Burnett while Carol was stuffing cookies in her purse to take home to her grandmother. Instead of reprimanding her, the man complimented Burnett’s performance and asked about her future plans. When he learned she wished to travel to New York in order to try her luck in musical comedy but couldn’t afford the trip, right then and there he offered Carol and her boyfriend Don Saroyan each a $1,000 interest-free loan. His conditions were simply that the loans were to be repaid within five years, his name was never to be revealed, and if she achieved success, she would help other aspiring talents to pursue their artistic dreams. Burnett took him up on his offer; she and Saroyan left college and moved to New York to pursue acting careers. That same year, Burnett’s father died of causes related to his alcoholism.

 

Career

Early career

After spending her first year in New York working as a hat-check girl and failing to land acting jobs, Burnett along with other girls living at the Rehearsal Club, a boarding house for women seriously pursuing an acting career, put on The Rehearsal Club Revue on March 3, 1955. They mailed invitations to agents, who showed up along with stars like Celeste Holm and Marlene Dietrich, and this opened doors for several of the girls. Burnett was cast in a minor role on The Paul Winchell and Jerry Mahoney Show in 1955. She played the girlfriend of a ventriloquist’s dummy on the popular children’s program. This role led to her starring role opposite Buddy Hackett in the short-lived sitcom Stanley from 1956 to 1957. In the 1950s, a young Carol Burnett was working as an usherette when the theater was showing Alfred Hitchcock‘s Strangers on a Train (1951). Having already seen the film and loving it, she advised two patrons arriving during the last ten minutes of a showing to wait until the beginning of the next showing to avoid spoiling the ending for them. The manager observed Burnett, let the couple in, then callously fired her, stripping the epaulettes from her uniform. Years later in the 1970s after achieving TV stardom, when the Hollywood Chamber of Commerce offered her a star on the Hollywood Walk of Fame, they asked her where she wanted it. She replied “Right in front of where the old Warner Brothers Theater was, at Hollywood and Wilcox”, which is where it was placed, at 6439 Hollywood Blvd.

After Stanley, Burnett found herself unemployed for a short time. She eventually bounced back a few months later as a highly popular performer on the New York circuit of cabarets and night clubs, most notably for a hit parody number called “I Made a Fool of Myself Over John Foster Dulles” (Dulles was Secretary of State at the time). In 1957, Burnett performed this number on both The Tonight Show, hosted by Jack Paar, and The Ed Sullivan Show. Dulles was asked about Carol Burnett on Meet the Press and joked, “I never discuss matters of the heart in public.”

Burnett also worked as a regular on one of television’s earliest game shows, Pantomime Quiz, during this time. In 1957, just as Burnett was achieving her first small successes, her mother died.

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Burnett’s first true taste of success came with her appearance on Broadway in the 1959 musical Once Upon a Mattress, for which she was nominated for a Tony. The same year, she became a regular player on The Garry Moore Show, a job that lasted until 1962. She won an Emmy that year for her “Outstanding Performance in a Variety or Musical Program or Series” on the show. Burnett portrayed a number of characters, most memorably the put-upon cleaning woman who would later become her signature alter-ego. With her success on the Moore Show, Burnett finally rose to headliner status and appeared in the special Julie and Carol at Carnegie Hall (1962), co-starring with her friend Julie Andrews. The show was produced by Bob Banner, directed by Joe Hamilton, and written by Mike Nichols and Ken Welch. Julie and Carol at Carnegie Hall won an Emmy Award for Outstanding Program Achievement in the Field of Music, and Burnett won an Emmy for her performance. Burnett also guest-starred on a number of shows during this time, including The Twilight Zone episode “Cavender is Coming.”

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In 1964, Burnett starred in the Broadway musical Fade Out – Fade In but was forced to withdraw after sustaining a neck injury in a taxi accident. She returned to the show later but withdrew again to participate in a variety show, The Entertainers, opposite Caterina Valente and Bob Newhart. The producers of Fade Out – Fade In sued the actress for breach of contract after her absences from the popular show caused its failure, but the suit was later dropped. The Entertainers ran for only one season.

Around the same time, Burnett became good friends with Jim Nabors, who was enjoying great success with his series Gomer Pyle, U.S.M.C. As a result of their close friendship, Burnett played a recurring role on Nabors’ show as a tough corporal, later gunnery sergeant. Nabors would later be her first guest every season on her variety show.

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In 1966, Lucille Ball became a friend and mentor to Burnett. After having guested on Burnett’s highly successful CBS-TV special Carol + 2 and having the younger performer reciprocate by appearing on The Lucy Show, Ball reportedly offered Burnett her own sitcom called “Here’s Agnes,” to be produced by Desilu Productions. Burnett declined the offer, not wanting to commit herself to a weekly series.

screenshot-2016-12-11-18-19-39The two remained close friends until Ball’s death in 1989. Ball sent flowers every year on Burnett’s birthday. When Burnett awoke on the day of her 56th birthday in 1989, she discovered via the morning news that Lucille Ball had died. Later that afternoon, flowers arrived at Burnett’s house with a note reading, “Happy Birthday, Kid. Love, Lucy.”

 

 

 

The Carol Burnett Show

In 1967, CBS offered to put Burnett in a weekly comedy series called Here’s Agnes. However, Burnett had a stipulation in her ten-year contract with CBS that said she had five years from the date The Garry Moore Show ended to “push the button” on hosting thirty one-hour episodes of a music/comedy variety show. As a result, the hour-long Carol Burnett Show was born and debuted in September 1967, garnering 23 Emmy Awards and winning or being nominated for multiple Emmy and Golden Globes every season it was on the air. Its ensemble cast included Tim Conway (who was a guest player until the ninth season), Harvey Korman, Lyle Waggoner, and the teenaged Vicki Lawrence, whom Burnett herself discovered and mentored. The network initially did not want her to do a variety show because they believed only men could be successful at variety, but Burnett’s contract required that they give her one season of whatever kind of show she wanted to make. She chose to carry on the tradition of past variety show successes.

A true variety show, The Carol Burnett Show struck a chord with viewers. Among other things, it parodied films (“Went With the Wind” for Gone With the Wind), television (“As the Stomach Turns” for the soap opera As the World Turns) and commercials. Musical numbers were also a frequent feature. Burnett and her team struck gold with the original sketch “The Family”, which eventually was spun off into its own television show called Mama’s Family, starring Vicki Lawrence.

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Burnett opened most shows with an impromptu question-and-answer session with the audience, lasting a few minutes, during which she often demonstrated her ability to humorously ad lib. On numerous occasions, she obliged when asked to perform her trademark Tarzan yell.

Burnett ended each show by tugging on her left ear, which was a message to her grandmother who raised her. This was done to let her know that she was doing well and that she loved her. During the show’s run, Burnett’s grandmother died. On an Intimate Portrait episode on Burnett, she tearfully recalled her grandmother’s last moments: “She said to my husband Joe from her hospital bed ‘Joe, you see that spider up there?’ There was no spider, but Joe said he did anyhow. She said ‘Every few minutes a big spider jumps on that little spider and they go at it like rabbits!!’ And then she died. There’s laughter in everything!”

The Carol Burnett Show ceased production in 1978, Four post-script episodes were produced and aired on ABC during the summer of 1979 under the title, Carol Burnett & Company basically using the same format and, with the exception of Harvey Korman and Lyle Waggoner, the same supporting cast. Beginning in 1977, the comedy sketches of Burnett’s series were edited into half-hour episodes entitled Carol Burnett and Friends, which, for many years, proved to be extremely popular in syndication. In January 2015, Carol Burnett and Friends began airing on MeTV.

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Other roles

screenshot-2016-12-11-18-19-20Burnett starred in a few films while her variety show was running, including Pete ‘n’ Tillie (1972). She was nominated for an Emmy in 1974 for her role in the drama 6 Rms Riv Vu. After her show ended, Burnett assumed a number of roles that departed from comedy. She appeared in several dramatic roles, most notably in the television movie Friendly Fire. She appeared as Beatrice O’Reilly in the film Life of The Party: The Story of Beatrice, a story about a woman fighting her alcoholism. Her other film work includes The Four Seasons (1981), Annie (1982), and Noises Off (1992). She also returned in 2005 to star in a different role as Queen Aggravain in the movie version of Once Upon a Mattress. She guest-starred in season two of Desperate Housewives as Bree’s stepmother, Elanor Mason.

Burnett was the first celebrity to appear on the children’s series Sesame Street, on that series’ first episode on November 10, 1969. She also made occasional returns to the stage in the 1970s and 1980s. In 1974, she appeared at The Muny Theater in St. Louis, Missouri, in I Do! I Do! with Rock Hudson, and eleven years later, she took the supporting role of Carlotta Campion in the 1985 concert performance of Stephen Sondheim‘s Follies. Burnett made frequent appearances as a panelist on the game show Password, an association she maintained until the early 1980s (in fact, Mark Goodson awarded her his Silver Password All-Stars Award for best celebrity player; she’s also credited with coming up with the title Password Plus, when it was originally planned to be titled Password ’79).

In the 1980s and 1990s, Burnett made several attempts at starting a new variety program. She also appeared briefly on The Carol Burnett Show’sThe Family” sketches spinoff, Mama’s Family, as her stormy character, Eunice Higgins. She played the matriarch in the cult comedy miniseries Fresno, which parodied the primetime soap opera Falcon Crest. She returned to TV in the mid-1990s as a supporting character on the sitcom Mad About You, playing Theresa Stemple, the mother of main character Jamie Buchman (Helen Hunt), for which she won another Emmy Award. In 1995, after an absence of 30 years, she was back on Broadway in Moon Over Buffalo, for which she was nominated for a Tony. Four years later, she appeared in the Broadway revue Putting It Together.

Burnett has long been a fan of the soap opera All My Children. She realized a dream when Agnes Nixon created the role of Verla Grubbs for her in 1976. Burnett played the long-lost daughter of Langley Wallingford (Louis Edmonds), causing trouble for her stepmother Phoebe Tyler-Wallingford (Ruth Warrick). She made occasional appearances on the soap opera in each decade thereafter. She hosted a 25th-anniversary special about the show in 1995 and made a brief cameo appearance as Verla Grubbs on the January 5, 2005, episode which celebrated the show’s 35th anniversary. Burnett reprised her role as Grubbs in September 2011 as part of the series’ finale.

In 2008, Burnett had her second role as an animated character in the film Horton Hears a Who!. Her first was in The Trumpet of the Swan in 2001. In 2009, she made a guest appearance on the Law & Order: Special Victims Unit, for which she was nominated for the Emmy Award for Outstanding Guest Actress in a Drama Series. In November 2010, she guest-starred on an episode of Glee as the mother of cheerleading coach Sue Sylvester. In 2012 she had another voice role in The Secret World of Arrietty. She has made a recurring role, traditionally on Thanksgiving-themed episodes, of Hawaii Five-0 as Steve McGarrett’s Aunt Debbie since 2013, until Aunt Deb died from cancer in the January 15, 2016 episode.

 

Personal life

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Burnett married her college sweetheart Don Saroyan on December 15, 1955; they divorced in 1962. On May 4, 1963, Burnett married TV producer Joe Hamilton, a divorced father of eight, who had produced her 1962 Carnegie Hall concert and would produce The Carol Burnett Show, among other projects. The couple had three daughters:

 

  • Carrie Hamilton, born December 5, 1963 – died January 20, 2002 (at age 38) of lung and brain cancer. She was an actress and singer.
  • Jody Hamilton, born January 18, 1967
  • Erin Hamilton, born August 14, 1968. She is a singer.

Their marriage ended in divorce in 1984, and Hamilton died of cancer in 1991. On November 24, 2001, Burnett married Brian Miller, principal drummer in and contractor of the Hollywood Bowl Orchestra, who is 23 years her junior.

Burnett is good friends with Julie Andrews, Betty White, Jim Nabors, was close with the late Beverly Sills and Lucille Ball, and is the acting mentor to her protégée Vicki Lawrence. They share a close friendship, as noted by Lawrence in a testimonial speech during her appearance at Burnett’s 2013 Mark Twain Award in Washington, D.C. (recorded and broadcast on PBS Television).

In 1981, actress Carol Burnett won a judgment against the Enquirer after it claimed she had been seen drunk in public at a restaurant with Henry Kissinger in attendance. The fact that both of her parents suffered from alcoholism made this a particularly sensitive issue to Burnett.

 

Memoirs and related works

Burnett and her oldest daughter, Carrie Hamilton, co-wrote Hollywood Arms (2002), a play based on Burnett’s bestselling memoir, One More Time (1986). Sara Niemietz and Donna Lynne Champlin shared the role of Helen (the character based on Burnett); Michele Pawk played Louise, Helen’s mother, and Linda Lavin played Helen’s grandmother. For her performance, Pawk received the 2003 Tony Award for Best Performance by a Featured Actress in a Play.

In 2010, Burnett wrote the memoir This Time Together.

In 2016, Burnett wrote the behind-the-scenes memoir In Such Good Company.

 

 

Charles Bronson

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Charles Bronson (born Charles Dennis Buchinsky; November 3, 1921 – August 30, 2003) was a Lithuanian-American film and television actor.

He starred in films such as Once Upon a Time in the West, The Magnificent Seven, The Dirty Dozen, The Great Escape, Rider on the Rain, The Mechanic, and the Death Wish series. He was often cast in the role of a police officer, gunfighter, or vigilante in revenge-oriented plot lines. He had long collaborations with film directors Michael Winner and J. Lee Thompson. In 1965, he was featured as Major Wolenski in Battle of the Bulge.

 

Early life and World War II service

Bronson was born Charles Dennis Buchinsky in Ehrenfeld in Cambria County in the  coal region of the Allegheny Mountains north of Johnstown, Pennsylvania.

He was the 11th of 15 children born to a Lithuanian immigrant father and a Lithuanian-American mother. His father, Walter Bunchinski (who later adjusted his surname to Buchinsky to sound more “American”), hailed from the town of Druskininkai. Bronson’s mother, Mary (née Valinsky), whose parents were from Lithuania, was born in the coal mining town of Tamaqua, Pennsylvania. He learned to speak English when he was a teenager; before that, he spoke Lithuanian and Russian.

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Bronson was the first member of his family to graduate from high school. When Bronson was 10 years old, his father died. Young Charles went to work in the coal mines, first in the mining office and then in the mine. He later said he earned one dollar for each ton of coal that he mined. He worked in the mine until he entered military service during World War II. His family was so poor that at one time, he said, he had to wear his sister’s dress to school because of his lack of clothing.

screenshot-2016-11-09-11-43-49In 1943, Bronson enlisted in the US Army Air Force. He served in the 760th Flexible Gunnery Training Squadron, and in 1945 as a Boeing B-29 Superfortress aerial gunner with the Guam-based 61st Bombardment Squadron within the 39th Bombardment Group, which conducted combat missions against the Japanese home islands. Bronson, a corporal, flew 25 missions and received a Purple Heart for wounds received in battle.

 

Acting career

Early roles, 1951–1959

After the end of World War II, Bronson worked at many odd jobs until joining a theatrical group in Philadelphia, Pennsylvania. He later shared an apartment in New York City with Jack Klugman while both were aspiring to play on the stage. In 1950, he married and moved to Hollywood, where he enrolled in acting classes and began to find small roles.

screenshot-2016-11-09-11-52-50Bronson’s first film role — an uncredited one — was as a sailor in You’re in the Navy Now in 1951. Other early screen appearances were in Pat and Mike, Miss Sadie Thompson and House of Wax (as Vincent Price‘s mute henchman, Igor). In 1952, Bronson boxed in a ring with Roy Rogers in Rogers’ show Knockout. He appeared on an episode of The Red Skelton Show as a boxer in a skit with Skelton playing “Cauliflower McPugg.” He also had a part credited as Charles Buchinsky in a western named Riding Shotgun, starring Randolph Scott. In 1954, Bronson made a strong impact in Drum Beat as a murderous Modoc warrior, Captain Jack, who relishes wearing the tunics of soldiers he has killed.

In 1954, during the House Un-American Activities Committee (HUAC) proceedings, he changed his surname from Buchinsky to Bronson at the suggestion of his agent, who feared that an Eastern European surname might damage his career. He reportedly took his inspiration from the Bronson Gate at the studios of Paramount Pictures, situated on the corner of Melrose Avenue and Bronson Street.

He made several appearances on television in the 1950s and 1960s, including a 1952 segment, with fellow guest star Lee Marvin, of Biff Baker, U.S.A., an espionage series on CBS starring Alan Hale, Jr., and played a killer named Crego in Gunsmoke (1956). Bronson had the lead role of the episode “The Apache Kid” of the syndicated crime drama Sheriff of Cochise, starring John Bromfield; Bronson was subsequently cast twice in 1959 after the series was renamed U.S. Marshal. He guest-starred in the short-lived CBS situation comedy, Hey, Jeannie! and in three episodes of Alfred Hitchcock Presents: And So Died Riabouchinska (1956), There Was an Old Woman (1956), and The Woman Who Wanted to Live (1962). In 1957, Bronson was cast in the Western series Colt .45 as an outlaw named Danny Arnold in the episode “Young Gun.” He also scored the lead in his own ABC detective series, Man with a Camera (from 1958 to 1960), in which he portrayed Mike Kovac, a former combat photographer freelancing in New York City. In 1959, he played Steve Ogrodowski, a naval intelligence officer, in two episodes of the CBS military sitcom/drama, Hennesey, starring Jackie Cooper. Bronson starred alongside Elizabeth Montgomery in The Twilight Zone episode “Two” (1961). He appeared in five episodes of Richard Boone‘s Have Gun – Will Travel (1957–1963).

In 1958, he was cast in his first lead film role in Roger Corman‘s Machine-Gun Kelly, followed by the lead role in the WWII film, When Hell Broke Loose later the same year.

 

Success, 1960–1968

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Bronson was cast in the 1960 episode “Zigzag” of Riverboat, starring Darren McGavin. That same year, he was cast as “Dutch Malkin” in the 1960 episode “The Generous Politician” of The Islanders. In 1960, he garnered attention in John SturgesThe Magnificent Seven, in which he was cast as one of seven gunfighters taking up the cause of the defenseless. During filming, Bronson was a loner who kept to himself, according to Eli Wallach. He received $50,000 for a role that made him a favorite actor of many in the since disbanded Soviet Union, such as Vladimir Vysotsky.

Two years later, Sturges cast him in another Hollywood production, The Great Escape, as claustrophobic Polish prisoner of war Flight Lieutenant Danny Velinski, nicknamed “The Tunnel King” (coincidentally, Bronson was really claustrophobic because of his childhood work in a mine).

In 1961, he was nominated for an Emmy Award for his supporting role in an episode entitled “Memory in White” of CBS’s General Electric Theater, hosted by Ronald Reagan. In 1962, he played alongside Elvis Presley as his loyal trainer, Lew Nyack, in Kid Galahad. In 1963, Bronson co-starred in the NBC Western series Empire. In the 1963–1964 television season he portrayed Linc, the stubborn wagon master in the ABC western series, The Travels of Jaimie McPheeters. In the 1965–1966 season, he guest-starred in an episode of The Legend of Jesse James. In 1965, Bronson was cast as a demolitions expert in an episode of ABC’s Combat!.

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Thereafter, in The Dirty Dozen (1967), he played an Army death row convict conscripted into a suicide mission. In 1967, he guest starred as Ralph Schuyler, an undercover government agent in the episode “The One That Got Away” on ABC’s The Fugitive.

 

European roles and rise with United Artists, 1968–1973

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Bronson made a serious name for himself in European films. In 1968, he starred as Harmonica in Once Upon a Time in the West. The director, Sergio Leone, once called him “the greatest actor I ever worked with,” and had wanted to cast Bronson for the lead in 1964’s A Fistful of Dollars. Bronson turned him down and the role launched Clint Eastwood to film stardom. In 1970, Bronson starred in the French film Rider on the Rain, which won a Hollywood Golden Globe Award for Best Foreign Language Film. The following year, this overseas fame earned him a special Golden Globe Henrietta Award for “World Film Favorite – Male” together with Sean Connery. In 1972 he began a string of successful action films for United Artists, beginning with Chato’s Land, although he had done several films for UA before this in the 1960s. One film UA brought into the domestic mainstream was Violent City, an Italian-made film originally released overseas in 1970.

 

Death Wish series and departure from UA, 1974–1980

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Bronson’s most famous role came when he was age 52, in Death Wish (Paramount, 1974), the most popular film of his long association with director Michael Winner. He played Paul Kersey, a successful New York architect who turns into a crime-fighting vigilante after his wife is murdered and his daughter sexually assaulted. This successful movie spawned various sequels over the next two decades, all starring Bronson.

In 1974, he had the title role in the Elmore Leonard film adaptation Mr. Majestyk, as an army veteran and farmer who battles local gangsters. For Walter Hill‘s Hard Times (1975), he starred as a Depression-era street fighter making his living in illegal bare-knuckled matches in Louisiana. He earned good reviews. Bronson reached his pinnacle in box-office drawing power in 1975, when he was ranked 4th, behind only Robert Redford, Barbra Streisand, and Al Pacino. His stint at UA came to an end in 1977 with The White Buffalo.

 

Cannon Films era and final roles, 1981–1994

He was considered for the role of Snake Plissken in Escape from New York (1981), but director John Carpenter thought he was too tough looking and too old for the part, and decided to cast Kurt Russell instead. In the years between 1976 and 1994, Bronson commanded high salaries to star in numerous films made by smaller production companies, most notably Cannon Films, for whom some of his last films were made. Many of them were directed by J. Lee Thompson, a collaborative relationship that Bronson enjoyed and actively pursued, reportedly because Thompson worked quickly and efficiently. Thompson’s ultra-violent films such as The Evil That Men Do (TriStar Pictures, 1984) and 10 to Midnight (1983) were blasted by critics, but provided Bronson with well-paid work throughout the 1980s. Bronson’s last starring role in a theatrically released film was 1994’s Death Wish V: The Face of Death.

 

Personal life

screenshot-2016-11-09-11-47-01His first marriage was to Harriet Tendler, whom he met when both were fledgling actors in Philadelphia. They had two children before divorcing in 1965. She wrote in her memoir that she “was an 18-year-old virgin when she met the 26-year-old Charlie Buchinsky at a Philadelphia acting school in 1947. Two years later, with the grudging consent of her father, a successful, Jewish dairy farmer, Tendler wed Bunchinsky, the Catholic Lithuanian and former coal miner. Tendler supported them both while she and Charlie pursued their acting dreams. On their first date, he had four cents in his pocket — and went on, now as Charles Bronson, to become one of the highest paid actors in the country.”

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Bronson  then married English actress Jill Ireland. They remained together from October 5, 1968, until her death in 1990. He had met her in 1962, when she was married to Scottish actor David McCallum. At the time, Bronson (who shared the screen with McCallum in The Great Escape) reportedly told him, “I’m going to marry your wife.”

The Bronsons lived in a grand Bel Air mansion in Los Angeles with seven children: two by his previous marriage, three by hers (one of whom was adopted) and two of their own (another one of whom was adopted). After they married, she often played his leading lady, and they starred in fourteen films together.

In order to maintain a close family, they would load up everyone and take them to wherever filming was taking place, so they could all be together. They spent time in a colonial farmhouse on 260 acres in West Windsor, Vermont. Ireland raised horses and provided training for their daughter Zuleika so that she could perform at the higher levels of horse showing. Their Vermont farm was named after her, the only natural child between them. During the late 1980s through the mid-1990s Bronson regularly spent winter holidays vacationing with his family in Snowmass, Colorado.

On May 18, 1990, aged 54, after a long battle with the disease, Jill Ireland died of breast cancer at their home in Malibu, California. In December 1998, Bronson was married a third time. to Kim Weeks, a former employee of Dove Audio who had helped record Ireland in the production of her audiobooks. The couple were married for five years until Bronson’s death in 2003.

 

Death

Bronson’s health deteriorated in later years, and he retired from acting after undergoing hip-replacement surgery in 1998. He suffered from Alzheimer’s disease in his final years. Bronson died of pneumonia at age 81 on August 30, 2003 at Cedars-Sinai Medical Center in Los Angeles. He was interred at Brownsville Cemetery in West Windsor, Vermont.

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