Colleen Moore

Colleen Moore

Colleen Moore in 1920 Born Kathleen Morrison
August 19, 1899(1899-08-19)
Port Huron, Michigan, U.S. Died January 25, 1988 (aged 88)
Paso Robles, California, U.S. Occupation Actress Years active 1916–1934 Spouse John McCormick (1923–1930)
Albert P. Scott (1932–1934)
Homer P. Hargrave (1937–1964)
Paul Magenot (1983–1988)

Colleen Moore (August 19, 1899 – January 25, 1988) was an American film actress, and one of the most fashionable stars of the silent film era.


Born Kathleen Morrison on August 19, 1899 (some sources state 1902)[1] in Port Huron, Michigan, Miss Moore was the eldest child of Charles R. and Agnes Morrison. The family remained in Port Huron during the early years of Moore’s life, at first living with her grandmother Mary Kelly (often spelled Kelley) and then with at least one of Moore’s aunts.[2]By 1905 the family had moved to Hillsdale, Michigan where they remained for over two years. They had relocated to Atlanta, Georgia by 1908. They are listed at three different addresses during their stay in Atlanta (From the Atlanta-Fulton Public Library city directories): 301 Capitol Avenue −1908; 41 Linden Avenue – 1909; 240 N. Jackson Street – 1910. They then lived briefly—probably less than a year—in Warren, Pennsylvania, and by 1911 they had settled down in Tampa, Florida.Two great passions of young Moore’s were dolls and movies; each would play a great role in her later life. She and her brother began their own stock company, reputedly performing on a stage created from a piano packing crate. She admired the faces she saw on the silver screen and on magazine covers. She had resolved at a young age that she would be not only an actress, but a star. Her aunts, who doted on her, indulged her other great passion and often bought her miniature furniture on their many trips, with which she furnished the first of a succession of doll houses.The family summered in Chicago, where Moore enjoyed baseball and the company of her Aunt Lib (Elizabeth, who changed her name to “Liberty”, Lib for short) and Lib’s husband Walter Howey. Howey was an important newspaper editor in the publishing empire of William Randolph Hearst, and was the inspiration for Walter Burns, the fictional Chicago newspaper editor in the play and the film The Front Page.[3]

At the time, Chicago was the center of the motion picture industry in America. Essanay Studios was within walking distance of the Northwestern L, which ran right past the Howey residence (they occupied at least two residences between 1910 and 1916: 4161 Sheridan and 4942 Sheridan). In interviews later in her silent film career, Moore claimed she had appeared in the background of several Essanay films, usually as a face in a crowd. One story has it she had gotten into the Essanay studios and waited in line to be an extra with Helen Ferguson: in an interview with Kevin Brownlow many years later Ferguson told a story that substantially confirmed many details of the claim, though it is not certain if she was referring to Moore’s stints as a background extra (if she really was one) or to her film test there prior to her departure for Hollywood in November 1917.Either way, the story has it that Aunt Lib intervened on Moore’s behalf, convincing Walter to wrangle a contract for Moore from D. W. Griffith to perform at his Triangle-Fine Arts studio in Hollywood. The contract was conditional on passing a film test to ensure that her eyes (one brown, one blue) would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones.

Moore made her first credited film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and for the next few years appeared in small, supporting roles[4] gradually attracting the attention of the public. There is a persistent rumor that she appeared in the 1916 film Prince of Graustark in the role of “the maid.” Those who have seen the film say the actress in that part bears a striking resemblance to Colleen. However, the part is uncredited, and while Colleen spent her summers in Chicago where the film was made, there is no definite proof yet that it was she—or someone who resembled her— who actually played the part.The Bad Boy was released on February 18, and featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin‘s first wife). Two months later it was followed by An Old Fashioned Young Man, again with Robert Harron. Colleen’s third film was Hands Up! filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film’s scenario was written by Wilfred Lucas from a story by Al Jennings, the famous outlaw who had been freed from jail by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride.) Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on for dear life. He also suggested she go out and get lessons. In a climactic scene she was locked in a closet and was able to scream her head off for the camera.On May 3, 1917, the Chicago Daily Tribune said: “Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into an hysteria of terror, and, shrieking ‘Daddy, Daddy, Daddy!’ beats futilely on a bolted door, a panic stricken little human animal, who had not known
fore that there was aught but kindness in the world.” About the time her first six-month contract was extended an additional six months, she requested and received a five weeks release to do a film for Universal‘s Bluebird division, released under the name The Savage. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her pay for the three weeks she had been again been available for work for Triangle (finally getting her pay in December of that year).Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in Hands Up! under her arm. Colin Campbell arranged for her to get a contract for her with Selig Polyscope. She was very likely at work on A Hoosier Romance before The Savage was released in November. After A Hoosier Romance, she went to work on Little Orphant Annie [sic]. Both films were based upon poems by James Whitcomb Riley, and both proved to be very popular. It was her first real taste of popularity.Little Orphant Annie was released in December. The Chicago Daily Tribune wrote of Moore, “She was a lovely and unspoiled child the last time I saw her. Let’s hope commendation hasn’t turned her head.” Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up: She went to Flagstaff, Arizona for location work on The Wilderness Trail, another western, this time with Tom Mix. Her mother went along as chaperon. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. The Wilderness Trail was a Fox Film Corporation production, and while it had started production earlier, it would not be released until after The Busher, which was released on May 18. The Busher was an H. Ince Productions-Famous Players-Lasky production; it was a baseball film wherein the hero was played by Jack (later John) Gilbert. The Wilderness Trail followed on July 6, another Fox film. A few weeks later The Man in the Moonlight, a Universal Film Manufacturing Company film was released on July 28. The Egg Crate Wallop was a Famous Players-Lasky production released by Paramount Pictures on September 28.

Colleen Moore in 1922

The next stage of her career was with the Christie Film Company, a move she made when she decided she needed comic training. This was in 1920, and it was a good move because it allowed her to work on her comic timing, and because the arrangement she had made with Al Christie allowed her to go out and look for other work while with the comic troupe. While with Christie, she made Her Bridal Night-Mare, A Roman Scandal, and So Long Letty. At the same time as she was working on these films, she worked on The Devil’s Claim with Sessue Hayakawa, in which she played a Persian woman, When Dawn Came, and His Nibs with Chic Sales. All the while, Marshall Neilan had been attempting to get Moore released from her contract so she could work for him. He was successful and made Dinty with Moore, releasing near the end of 1920, followed by When Dawn Came.For all his efforts to win Moore away from Christie, it seems Neilan farmed her out most of the time. He loaned her out to King Vidor for The Sky Pilot, released in May 1921, yet another Western. After working on The Sky Pilot on location in the snows of Truckee, she was off to Catalina Island for work on The Lotus Eaters with John Barrymore. While it is popularly believed the work on this film was done in Florida, it was in fact shot on location on Catalina Island. From there she was off to New York for more location work, then back to California where Neilan put her to work in Slippy McGee. Work on Slippy McGee took her to Mississippi.In October 1921, His Nibs was released, her only film to be released that year besides The Sky Pilot. In His Nibs, Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a spoof on films of the time. 1922 proved to be an eventful year for Moore as she was named a WAMPAS Baby Star during a “frolic” at the Ambassador Hotel which became an annual event, in recognition of her growing popularity.[5] In early 1922, Come On Over was released, made from a Rupert Hughes story and directed by Alfred E. Green. Hughes directed Colleen himself in The Wallflower, released that same year. In addition, Neilan introduced her to John McCormick (1893–1961), a publicity man who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year three more of her films were released: Forsaking All Others, The Ninety and Nine, and Broken Chains.Look Your Best and The Nth Commandment were released in early 1923, followed by two Cosmopolitan Productions, The Nth Commandment and Through the Dark. By this time she had publicly confirmed her engagement to McCormick, a fact that she had been coy about to the press previously. Before mid-year, she had signed a contract with First National Pictures, and her first two films were slated to be The Huntress and Flaming Youth. Slippy McGee came out in June, followed by Broken Hearts of Broadway.Moore and John McCormick married while Flaming Youth was still in production, and just before the release of The Savage. When it was finally released in 1923, Flaming Youth, in which she starred opposite actor Milton Sills was as a hit. The controversial story put Moore in focus as a flapper but after Clara Bow took the stage in Black Oxen in December, she gradually lost her momentum. In spring 1924 she made a good, but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; “No more flappers…people are tired of soda-pop love affairs”.[6] Decades later Moore stated Bow was her “Chief rival” [7]Through the Dark, originally shot under the name Daughter of Mother McGinn was released during the height of the Flaming Youth furor in January 1924. Three weeks later, Painted People was released. After that, she was to star in Counterfeit.” The film went through a number of title changes before being released as Flirting with Love in August. In October, First National purchased the rights to Sally for Moore’s next film. It would be a challenge, as Sally was a musical comedy. In December, First National purchased the rights to Desert Flower, and in so doing had mapped out Moore’s schedule for 1925: Sally, would be filmed first, followed by The Desert Flower.By the late 1920s, she had accomplished dramatic roles in films such as So Big, where Moore aged through a stretch of decades and was also well received in light comedies such as Irene.An overseas tour was planner to coincide with the releases of “So Big” in Europe, and Colleen saw the tour as her first real opportunity to spend time with her husband John. Both she and John were dedicated to their careers, and the hectic schedules they had kept them from spending any quality time together. Colleen wanted a family; it was one of her goals[citation n


In 1928, inspired by her father and with help from her former set designer, Horace Jackson, Moore constructed an eight foot tall miniature “fairy castle” which toured the United States. The interior of The Colleen Moore Dollhouse, designed by Harold Grieve, features miniature bear skin rugs and detailed furniture and art. Moore’s dollhouse has been a featured exhibit at the Museum of Science and Industry in Chicago, Illinois since the early 1950s, where, according to the museum it is seen by 1.5 million people each year. Moore continued working on it, and contributing artifacts to it, until her death.This dollhouse was the eighth dollhouse Moore owned. The first dollhouse, she wrote in her autobiography Silent Star (1968), evolved from a cabinet that held her collection of miniature furniture. It was supposedly built from a cigar box. Kitty Lorgnette wrote in the Saturday, August 13, 1938 edition of The Evening News (Tampa) that the first dollhouse was purchased by Oraleze O’Brien (Mrs. Frank J. Knight) in 1916 when Moore (then Kathleen) left Tampa. Oraleze was too big for dollhouses, however, and she sold it again after her cat had kittens in it, and from there she lost track of it. The third house was possibly given to the daughter of Moore’s good friend, author Adela Rogers St. Johns. The fourth survives and remains on display in the living room of a relative.

With the advent of talking pictures in 1929, Moore took a hiatus from acting. During this interim, Moore was briefly married to a prominent New York-based stockbroker, Albert Parker Scott, one of her four husbands. She and Scott lived at that time in a lavish home in Bel Air, where they hosted parties for and were supporters of the U.S. Olympic team, especially the yachting team, during the 1932 Summer Olympics held in Los Angeles.In 1933, Moore, by then divorced, returned to work in Hollywood. She appeared in three films, none of which were successful, and Moore retired. She later married the widower Homer Hargrave and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a life-long close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as King Vidor and Mary Pickford.

In the 1960s, she formed a television production company with King Vidor with whom she had worked in the 1920s. She also published two books in the late 1960s, her autobiography Silent Star: Colleen Moore Talks About Her Hollywood (1968) and How Women Can Make Money in the Stock Market (1969).At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the 1980 documentary film series Hollywood, providing her recollections of Hollywood’s silent film era.

Moore died from cancer in Paso Robles, California, aged 88.[8] Her contribution to the motion picture industry has been recognized with a star on the Hollywood Walk of Fame at 1551 Vine Street.

F. Scott Fitzgerald wrote of her: “I was the spark that lit up Flaming Youth, Colleen Moore was the torch. What little things we are to have caused all that trouble.”[9]

Year Film Role Notes
1916 The Prince of Graustark Maid Uncredited
1917 Hands Up! Marjorie Houston
The Bad Boy Ruth
The Little American Undetermined Role Uncredited
1918 Little Orphant Annie Annie
A Hoosier Romance Patience Thompson
1919 The Wilderness Trail Jeanne Fitzpatrick
The Egg Crate Wallop Kitty Haskell
1920 So Long Letty Grace Miller
Dinty Doreen O’Sullivan
1921 The Sky Pilot Gwen
His Nibs The Girl
1922 Forsaking All Others Penelope Mason
The Ninety and Nine Ruth Blake
1923 April Showers Maggie Muldoon
Flaming Youth Patricia Fentriss
1924 The Perfect Flapper Tommie Lou Pember
So Big Selina Peake
1925 We Moderns Mary Sundale
Ben-Hur Crowd extra in chariot race Alternative title: Ben-Hur: A Tale of the Christ
1926 Ella Cinders Ella Cinders
Twinkletoes Twink “Twinkletoes” Minasi
1927 Orchids and Ermine “Pink” Watson
Her Wild Oat Mary Brown
1928 Lilac Time Jeannine Berthelot Alternative title: Love Never Dies
Oh Kay! Lady Kay Rutfield
1929 Smiling Irish Eyes Kathleen O’Connor
Footlights and Fools Betty Murphy/Fifi D’Auray
1933 The Power and the Glory Sally Garner Alternative title: Power and Glory
1934 Social Register Patsy Shaw
Success at Any Price Sarah Griswold
The Scarlett Letter Hester Prynne

  • ^ Golden, Eve (2001). Golden Images: 41 Essays on Silent Film Stars. McFarland. pp. 98. ISBN 0-786-40834-0. 
  • ^ 1900 census for Port Huron, St. Clair County, MI., Fifth Ward, Sheet 9. Household occupants listed as: Mary Kelly, head of household; Kathleen (Colleen’s aunt), daughter; Charles Morrison, son-in-law; Agnes Morrison, daughter; and Kathleen Morrison with birth-date given as August 1899. Also: Wolverine Directory Co.’s St. Clair County Directory, pg. 251: “Morrison, Chas R, collector Commercial Bank, res 817 Ontario”
  • ^ Rhoads, Mark (2006-07-23). “Colleen Moore”. Illinois Hall of Fame. Illinois Review. Retrieved 2007-09-30. 
  • ^ “Colleen Moore”. AFI Catalog Silent Films. AFI. 2002. Retrieved 2007-09-30. 
  • ^ Williams, Gregory Paul (2006). The Story of Hollywood: An Illustrated History. pp. 122. ISBN 0-977-62990-2. 
  • ^ Los Angeles Times, May 18th 1924
  • ^ Silent Star, Colleen Moore, Doubleday, 1968
  • ^ Fowler, Glenn (1988-01-26). “Colleen Moore, Star of ‘Flapper’ Films, Dies at 85”. The New York Times. Retrieved 2008-12-02. 
  • ^ Porter, Darwin (2001). Hollywood’s Silent Closet: A Novel. Blood Moon Productions, Ltd.. pp. 549. ISBN 0-966-80302-7. 
    • Jeanine Basinger (1999), chapter on Moore in Silent Stars, (ISBN 0-8195-6451-6).
    • Colleen Moore, Silent Star: Colleen Moore Talks About Her Hollywood (1968)
    • John Kobal, People Will Talk (1985)
    • Glenn Mitchell, A-Z of Silent Film Comedy, An Illustrated Companion (1998)
    • Cedric Osmond Bermingham, Stars of the Screen, 1931: A Volume of Biographies of Contemporary Actors and Actresses Engaged in Photoplay Throughout the World (1931)


    Arnold Armitage

    Arnold Armitage (1899-1991) was a British-born artist and illustrator, best known for his work with pin-up art. He moved to the United States around 1925 and settled in Hollywood, California, working for the Foster and Kleiser Company, which produced billboards. During the 1930s, he developed a reputation as a designer specializing in billboards, and he designed many of these for American corporations.About 1940, Armitage began a series of “pretty girl” paintings for the calendar market. While not strictly pin-ups, these works were very reminiscent of the work of Gil Elvgren. Armitage’s pretty girls were well-received in both the United States and England.

    • Pin-up girl
    • List of pinup artists

    • The Great American Pin-Up, by Charles G. Martignette and Louis K. Meisel, ISBN 3-8228-1701-5

    June Haver

    June Haver

    YANK magazine, 1945 Born June Stovenour
    June 10, 1926(1926-06-10)
    Rock Island, Illinois, U.S. Died July 4, 2005 (aged 79)
    Brentwood, California, U.S. Years active 1943-1953 Spouse(s) Jimmy Zito (1947-1948)
    Fred MacMurray (1954-1991)
    (his death)

    June Haver (June 10, 1926 – July 4, 2005), was an American film actress. She is most well-known as a popular star of 20th Century-Fox musicals in the late 1940s, most notably The Dolly Sisters, with Betty Grable. She is also often linked to her second husband, actor Fred MacMurray.


    Born June Stovenour, Haver was born in Rock Island, Illinois. She later took the last name of her stepfather Bert Haver. After the family moved to Ohio, seven-year-old Haver entered and won a contest of the Cincinnati Conservatory of Music.[1] At age 10, she moved back to Rock Island, where she began performing for Rudy Vallée.[1] Her mother being an actress and her father being a musician, Haver often doubted who she – careerwise – wanted to follow.[2] At age eight, she won a film test by imitating famous actresses including Greta Garbo, Katharine Hepburn and Helen Hayes.[2] Haver’s mother, however, prohibited her daughter from becoming a child actress in the film industry, feeling she was too young.[2]Working regularly as a band singer by her teens, she performed with the Ted Fio Rito Orchestra for $75 a week.[1] Other bandleaders she worked for were Dick Jurgens and Freddy Martin.[2] Furthermore, she became a well-known child star on the radio.[2]

    In the summer of 1942,[2] Haver moved to Hollywood, where she finished high school. She acted in plays in her spare time and during a performance, she was discovered by a scout from 20th Century Fox. In 1943, Haver signed a $3,500 a week contract with the studio.[1] She debuted on screen as Cri-Cri in Home In Indiana (1944). According to the actress, she was only sixteen years old when her scenes were filmed.[2] Later that year she co-starred with future husband, Fred MacMurray, in Where Do We Go From Here?, which was the only time the pair appeared together in a film.During her career at Fox, Haver was originally groomed to be the next Betty Grable (she was known as “Pocket Grable”). She even co-starred with Grable in the 1945 film, The Dolly Sisters, a film for which she had to put on weight.[3] While filming, there were a lot of rumors about a possible clash between the two actresses, mostly because of their often comparison, but Haver refuted this, saying: “Betty is a big star and I’m just starting. I try to be nice to her, and she reciprocated by being just as nice to me. It’s silly to think two girls can’t work together without querreling. You see, I’ve two sisters. I’m the ham between the bread and butter – the middle sister – and I understand girls pretty well. Betty likes to talk about her baby, so we talk about her baby.”[3]Possibly best known for her roles in optimistic musicals, Haver debuted in 1948 in a dramatic role in Scudda Hoo! Scudda Hay!, which became a major success.[4] The same year, she starred as Marilyn Miller in the musical Look for the Silver Lining (1948). To resemble the actress as much as possible, Haver had to drive to the studio an hour earlier for make-up.[2]Following her marriage to Fred MacMurray, Haver remained largely retired from acting (her last appearances were as herself on The Lucy-Desi Comedy Hour in 1958 and Disneyland ’59); she later found some success as an interior decorator. The couple adopted two daughters and remained together until MacMurray’s death in 1991.At the urging of friends Ann Miller and Ann Rutherford, Haver finally joined the Academy of Motion Picture Arts and Sciences at the age of 75. For her contribution to the motion picture industry, June Haver has a star on the Hollywood Walk of Fame at 1777 Vine Street.

    Haver insisted she has always been very close with her family. Her sisters followed her to Hollywood and served as her stand-ins, while her mother was Haver’s personal secretary.[2]On March 9, 1947, Haver married trumpet player James Zito. She met him at age 15, while touring with Ted Fio Rito‘s orchestra.[5] They initially lost contact after Haver moved from Illinois to Beverly Hills, but started dating when Haver made a short visit to her home town when she was already a film actress.[5] Haver filed for divorce shorter than a year after eloping with Zito, winning interlocutory decree on March 25, 1948. She admitted to the press the marriage was a failure from the beginning, saying: “I want to forget as soon as possible. We hadn’t been married hours before I realized I had never really known Jimmy. He was a stranger. He was either down in the dumps or up high. I never knew from one moment to the next how he would be.”[5] Because of her devotion to religion, Haver tried to make the marriage work, turning to church to forget her unhappiness.[5]After her divorce from Zito, Haver started dating Dr. John L. Duzik, whom she already dated with before marrying Zito.[5] They planned on marrying, but Duzik died on October 31, 1949 following surgery complications.[5] While taking care of him in his final days, she started attending church more often. According to friends, it was in this period when she was inspired to become a nun.[5] Following Duzik’s death, Haver reportedly became tired of Hollywood, and never really was in love with the men she dated afterwards.[5] In February 1953, Haver entered a convent, but she stayed there only until October, saying she left because of “poor health”.[1]Around that time, Haver met MacMurray, one of the wealthiest and most conservative men in Hollywood, again, and a romantic relationship developed. On June 28, 1954, they were married. She told the press: “When I married Fred, he was terribly set in his ways. He was a fuss-budget. He hadn’t quite progressed t
    being a lint picker, but he was already an ash-tray emptier, and that’s just about as set in his ways as a man can get.”[6] Haver insisted on adopting a girl, but MacMurray, 19 years her senior, initially refused to, explaining he already has been a father.[6] Shortly after, he agreed on adopting a child, and with the help of a doctor, they were able to take in a twin.[6]Haver died from respiratory failure on July 4, 2005 at her home in Brentwood, California at the age of 79 and was buried with her husband at Holy Cross Cemetery, in Culver City. She left behind two stepchildren (by MacMurray’s first marriage), two adopted children, and seven grandchildren.

    Year Film Role Notes
    1943 The Gang’s All Here Chorus Girl/Hat-Check Girl Uncredited
    1944 Home in Indiana ‘Cri-Cri’ Bruce
    Irish Eyes Are Smiling Mary ‘Irish’ O’Neill
    Something for the Boys Chorine Uncredited
    1945 Where Do We Go from Here? Lucilla Powell/Gretchen/Indian
    The Dolly Sisters Roszika ‘Rosie’ Dolly
    1946 Wake Up and Dream Jenny
    Three Little Girls in Blue Pam Charters
    1947 I Wonder Who’s Kissing Her Now Katie
    1948 Scudda Hoo! Scudda Hay! Rad McGill
    1949 Look for the Silver Lining Marilyn Miller
    Oh, You Beautiful Doll Doris Fisher
    1950 The Daughter of Rosie O’Grady Patricia O’Grady
    I’ll Get By Liza Martin
    1951 Love Nest Connie Scott
    1953 The Girl Next Door Jeannie Laird

    1957 “The Lucy Desi Comedy Hour- Episode 3- Lucy Goes Uranium Hunting short appearance showing her as the wife of Fred MacMurray

  • ^ a b c d e Morning Democrat – October 15, 1955, Davenport, Iowa. p.96
  • ^ a b c d e f g h i (Dutch) Film en Theater, Dutch magazine. Third volume, #13. July 1948.
  • ^ a b Waterloo Daily Courier – April 15, 1945, Waterloo, Iowa. p.24
  • ^ Anniston Star – May 23, 1948, Anniston, Alabama. p.20
  • ^ a b c d e f g h Abilene Reporter-News – October 6, 1946, Abilene, Texas. p.36
  • ^ a b c The Progress-Index – November 13, 1960, Petersburg, Virginia. p.36
  • Masuimi Max

    Masuimi Max hosting an event honoring wounded veterans at the Playboy Mansion on May 16, 2009. Born March 12, 1978 (1978-03-12) (age 32)
    Jacksonville, Arkansas, United States Height 5 ft 7 in (1.70 m) Weight 127 lb (58 kg; 9.1 st) Measurements 34C-26-35 Eye color Brown Ethnicity Korean, German Official website Masuimi Max at IMDb

    Showing her back tattooMasuimi Max (born March 12, 1978) is an American fetish model of Korean and German descent.[1] She is known for her many tattoos and her interest in several fetishes.


    Max started stripping at the age of 18[2] to make money after her family had disowned her when she was 17. Her stripping routine included elements of fetish and burlesque dancing.

    She has appeared in dozens of magazines and photoshoots, as well as music videos. She was also an import model for a short period posing for car magazines. Max has appeared in several movies, including Here Lies Lonely (1999) and The Devil’s Muse (2007) and was widely seen in XXX: State of the Union (2005). She also makes personal appearances at car shows. Max appeared in the Tiger Army music video “Rose of the Devil’s Garden” and as a contestant in the reality television game show Fear Factor where she ate a potato bug. She also has a brief cameo at the end of the movie Inland Empire by David Lynch as a girl with the blonde wig who has a monkey.

  • ^ Jason Gary, Greg Jacobson (directors). (2005). Modify. [DVD]. Committed Films. 
  • ^
  • Betty Compson

    For the actress who married NYC Mayor Jimmy Walker, see Betty Compton.

    Betty Compson

    Born Eleanor Luicime Compson
    March 19, 1897(1897-03-19)
    Beaver, Utah, United States Died April 18, 1974 (aged 77)
    Glendale, California, United States Occupation Actress Years active 1915–1948 Spouse(s) James Cruze (1925–1930)
    Irving Weinberg
    Silvius Jack Gall (?-1962) (his death)

    Betty Compson (March 19, 1897 – April 18, 1974) was an American actress. Born Eleanor Luicime Compson in Beaver, Utah, she had an extensive filmography. As a youth her father died and she was forced to drop out of school and earn a living for herself and her mother. She obtained employment as a violinist in a Salt Lake City, Utah, theater.


    Compson made 25 films in 1916 alone, although most of them are shorts. She completed The Miracle Man (1919) for George Loane Tucker. Compson’s rise as a star in motion pictures began with her portrayal of Rose in this production.In 1920, she began to head her own company. She worked at the Hollywood Brunton studio and acquired three stories for films. Compson returned from New York City where she obtained financial backing for her motion picture productions.Her first movie as producer was Prisoners of Love (1921). She played the role of Blanche Davis, a girl born to wealth and cursed by her inheritance of physical beauty. Compson selected Art Rosson to direct the feature. The story was chosen from a work by Catherine Henry.Compson worked for the Christie Company as a newcomer in films, followed by Famous Players-Lasky. After completing The Woman With Four Faces (1923) she signed with a London, England motion picture company. There she starred in a series of four films directed by Graham Cutts, a well-known English filmmaker. The first of these was a movie version of an English play called Woman to Woman (1924), the screenplay for which was co-written by Cutts and Alfred Hitchcock.In 1928, she appeared in Court-Martial as Belle Starr, and in The Barker, a silent movie which contained some talking scenes. Compson was nominated for the Academy Award for Best Actress for her performance in The Barker. Mainly due to this success, she became one of the busiest actors in the new talking cinema. Unlike a number of other female stars of silent film, it was felt that her voice recorded exceptionally well. Although she was not a singer, she appeared in a number of early musicals, in which her singing voice was dubbed.

    One of her most revered films remains The Docks of New York (1928), noted for its dark visual ambience and superb performances. In 1930, she made a version of The Spoilers in which she played the role later portrayed by similar-looking Marlene Dietrich in the 1942 remake, while Gary Cooper played the part subsequently acted in the later film by John Wayne, perhaps the only time that Cooper and Wayne played precisely the same role. One major film in which she did not appear was Gone With the Wind, although she shot a Technicolor screen test for the role of Belle Watling. Unfortunately, most of her later films were low-budget, even exploitation, efforts, although her acting was always competent.Compson’s last film was Here Comes Trouble (1948). She retired following that film and helped her husband run a business called “Ashtrays Unlimited”.

    Compson wed three times. From 1924 to 1930 she was married to film director James Cruze. Later she married and divorced agent-producer Irving Weinberg. Her third husband was Silvius Jack Gall. He died in 1962.Betty Compson died in 1974, of a heart attack, at her home in Glendale, California. She was 77. On her passing she was interred in San Fernando Mission Cemetery in San Fernando, California. She left no surviving relatives.

    • Los Angeles Times, Betty Compson Has Film Unit, February 15, 1920, Page III1.
    • Los Angeles Times, Betty Compson Star, January 2, 1921, Page III20.
    • Los Angeles Times, Flashes; Star To Travel Betty Compson Signs For London Films, April 5, 1923, Page II7.
    • Los Angeles Times, Ex-Film Star Betty Compson, April 23, 1974, Page A4.
    • Ogden, Utah Standard-Examiner, Closeup and Comedy, Monday Evening, May 25, 1934, Page 7.

    Barbara Kent

    Barbara Kent

    Barbara Kent in the 1933 film Oliver Twist Born Barbara Cloutman
    December 16, 1906 (1906-12-16) (age 103)
    Gadsby, Alberta, Canada Occupation Actress,Silent Film Star. Years active 1925 – 1935 Spouse Harry E. Edington (1932-1949)

    Barbara Kent (born December 16, 1906) is a Canadian actress who was popular in silent movies. She is one of the last surviving adult-aged players from Hollywood’s silent film period.Born as Barbara Cloutman[1] in Gadsby, Alberta, she won the Miss Hollywood Pageant in 1925. She began her Hollywood career in 1925 in a small role for Universal Studios. A brunette who stood less than five feet tall, Kent became popular as a comedienne opposite such stars as Reginald Denny, and also made a strong impression as the heroine, pitted against Greta Garbo‘s femme fatale in Flesh and the Devil (1926).She attracted attention in the 1927 film No Man’s Law by swimming nude; she wore a flesh colored bathing suit in scenes that were considered very daring at the time. The popularity of this film led to her selection as one of the WAMPAS Baby Stars for 1927. She made a smooth transition into talking pictures, opposite Harold Lloyd in the comedy Welcome Danger (1929). Over the next few years she remained popular and received critical praise for her role in the 1933 film version of Oliver Twist.Her marriage in 1934 to the agent, Harry E. Edington, interrupted her career. During a one year hiatus, Edington groomed Kent for what he intended to be a high profile career, however by the time she returned to films, her popularity had waned and she was unable to establish herself again. She made her final film in 1935.On November 8th 1934 Barbara sailed from Southampton to New York onboard the luxury liner SS Washington. Barbara sailed again on October 7th 1936 from Southampton to New York this time onboard the French liner ‘SS Normandie‘.Following the death of her husband in 1949, Kent retreated from public life and eventually settled in Sun Valley, Idaho. She has since refused to acknowledge her film career or grant interviews.[2]

    • Flesh and the Devil (1926)
    • Prowlers of the Night (1926)
    • The Lone Eagle (1927)
    • No Man’s Law (1927)
    • The Small Bachelor (1927)
    • The Drop Kick (1927)
    • Modern Mothers (1928)
    • Stop That Man (1928)
    • That’s My Daddy (1928)
    • Lonesome (1928)
    • Welcome Danger (1929)
    • The Shakedown (1929)
    • Night Ride (1930)
    • Dumbbells in Ermine (1930)
    • Feet First (1930)
    • What Men Want (1930)
    • Freighters of Destiny (1931)
    • Chinatown After Dark (1931)
    • Grief Street (1931)
    • Indiscreet (1931)
    • Self Defense (1932)
    • Pride of the Legion (1932)
    • No Living Witness (1932)
    • Beauty Parlor (1932)
    • Vanity Fair (1932)
    • Marriage on Approval (1933)
    • Her Forgotten Past (1933)
    • Oliver Twist (1933)
    • Reckless Decision (1933)
    • Swellhead (1935)
    • Guard That Girl (1935)

  • ^ “From the Bigknife to the Battle : Gadsby and area”. Our Roots. Retrieved 2009-12-16. 
  • ^ NNDB/Barbara Kent
  • Brigitte Bardot

    Brigitte Bardot

    Bardot in 1968 Born Brigitte Anne-Marie Bardot
    28 September 1934 (1934-09-28) (age 75)
    Paris, France Other names BB Occupation Actress, model, singer, animal rights activist Years active 1952–1973 Spouse Roger Vadim (m. 1952–1957) «start: (1952)–end+1: (1958)»”Marriage: Roger Vadim to Brigitte Bardot” Location: (linkback:
    Jacques Charrier (m. 1959–1962) «start: (1959)–end+1: (1963)»”Marriage: Jacques Charrier to Brigitte Bardot” Location: (linkback:
    Gunter Sachs (m. 1966–1969) «start: (1966)–end+1: (1970)»”Marriage: Gunter Sachs to Brigitte Bardot” Location: (linkback:
    Bernard d’Ormale (m. 1992–present) «start: (1992)»”Marriage: Bernard d’Ormale to Brigitte Bardot” Location: (linkback:

    Brigitte Anne-Marie Bardot[1][2] (French pronunciation: [bʁiʒit baʁdo], English: /ˈbrɪdʒɨt bɑrˈdoʊ/; born 28 September 1934) is a French animal rights activist and a former fashion model, actress and singer.In her early life, Bardot was an aspiring ballet dancer. She started her acting career in 1952, and after appearing in 16 films, became world-famous due to her role in her then-husband Roger Vadim‘s controversial film And God Created Woman. She later starred in Jean-Luc Godard‘s 1963 cult film, Contempt. She was nominated for a BAFTA Award for Best Foreign Actress for her role in Louis Malle‘s 1965 film, Viva Maria!.She caught the attention of French intellectuals. She was the subject of Simone de Beauvoir‘s 1959 essay, The Lolita Syndrome, which described Bardot as a “locomotive of women’s history” and built upon existentialist themes to declare her the first and most liberated woman of post-war France.[3]Bardot retired from the entertainment industry in 1973. During her career in show business Bardot starred in 47 films, performed in numerous musical shows, and recorded 80 songs. She was awarded the Légion d’honneur in 1985 but refused to receive it.[4]After her retirement, Bardot established herself as an animal rights activist. During the 1990s she became outspoken due to her criticism of immigration, race-mixing, some aspects of homosexuality and Islam in France, and has been fined five times for “inciting racial hatred“.[5][6]


    Brigitte Bardot was born in Paris to Anne-Marie ‘Toty’ Mucel (1912–1978) and Louis ‘Pilou’ Bardot (1896–1975). Her father had an engineering degree and worked with his own father in the family business. Toty was sixteen years younger and they married in 1933. Brigitte’s mother enrolled her and her younger sister Marie-Jean (‘Mijanou’, born 5 May 1938) in dance. Mijanou eventually gave up on dancing lessons to complete her education, whereas Brigitte decided to concentrate on a ballet career. In 1947, Bardot was accepted to The National Superior Conservatory of Paris for Music and Dance and for three years attended the ballet classes of Russian choreographer Boris Knyazev. (One of her classmates was Leslie Caron). By the invitation of her mother’s acquaintance, she modeled in a fashion show in 1949. In the same year, she modeled for a fashion magazine “Jardin des Modes” managed by another friend of her mother, journalist Hélène Lazareff. She appeared on an 8 March 1950 cover of ELLE[7] and was noticed by a young film director, Roger Vadim, while babysitting for a friend. He was so taken with the picture that he showed an issue of the magazine to director and screenwriter Marc Allégret who offered Bardot the opportunity to audition for “Les lauriers sont coupés” thereafter. Although Bardot got the role, the shooting of the film was cancelled but it made her consider becoming an actress. Moreover, her acquaintance with Vadim, who attended the audition, influenced her further life and career.[8][9]

    Although the European film industry was then in its ascendancy, Bardot was one of the few European actresses to have the mass media’s attention in the United States.Brigitte Bardot debuted in a 1952 comedy film Le Trou Normand (English title: Crazy for Love). In the same year she married Roger Vadim. From 1952 to 1956 she appeared in seventeen films; in 1953 playing a part in Jean Anouilh‘s stageplay “L’Invitation au château” (“The Invitation to the Castle“). She received media attention when she attended the Cannes Film Festival in April 1953.[9]Her films of the early and mid 1950s were generally lightweight romantic dramas, some of them historical, in which she was cast as ingénue or siren, often in varying states of undress. She played bit parts in three English-language films, the British comedy Doctor at Sea (1955), Helen of Troy (1954), in which she was understudy for the title role but only appears as Helen’s handmaid, and Act of Love (1954) with Kirk Douglas. Her French-language films were dubbed for international release.Roger Vadim was not content with this light fare. The New Wave of French and Italian art directors and their stars were riding high internationally, and he felt Bardot was being undersold
    Looking for something more like an art film to push her as a serious actress, he showcased her in And God Created Woman (1956) with Jean-Louis Trintignant. The film, about an immoral teenager in a respectable small-town setting, was an international success.There was a popular claim that Bardot did more for the French international trade balance than the entire French car industry.[9]In Bardot’s early career, professional photographer Sam Levin’s photos contributed to her image of sensuality. One of Levin’s pictures shows Brigitte from behind, dressed in a white corset.British photographer Cornel Lucas made iconic images of Bardot in the 1950s and 1960s that have become representative of her public persona.She divorced Vadim in 1957 and in 1959 married actor Jacques Charrier, with whom she starred in Babette Goes to War in 1959. The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career. Her films became more substantial, but this brought pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world.Vie privée (1960), directed by Louis Malle has more than an element of her life story in it.[citation needed] The scene in which, returning to her apartment, Bardot’s character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names, was based on an actual incident, and is a resonant image of celebrity in the mid-20th century.[citation needed] Bardot was awarded a David di Donatello Award for Best Foreign actress for the role.[10]Soon afterwards, Bardot withdrew to the seclusion of Southern France where she had bought the house La Madrague in Saint-Tropez in May 1958.In 1963, she starred in Jean-Luc Godard‘s critically acclaimed film Contempt.Brigitte Bardot was featured in many other films along with notable actors such as Alain Delon (Famous Love Affairs, Spirits of the Dead), Jean Gabin (In Case of Adversity), Sean Connery (Shalako), Jean Marais (Royal Affairs in Versailles, School for Love), Lino Ventura (Rum Runners), Annie Girardot (The Novices), Claudia Cardinale (The Legend of Frenchie King), Jeanne Moreau (Viva Maria!), Jane Birkin (Don Juan, or If Don Juan Were a Woman).In 1973, Bardot announced that she was retiring from acting at the age of 39 as “a way to get out elegantly”.[11]She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including “Harley Davidson”, “Je Me Donne A Qui Me Plait”, “Bubble gum”, “Contact”, “Je Reviendrais Toujours Vers Toi”, “L’Appareil A Sous”, “La Madrague”, “On Demenage”, “Sidonie”, “Tu Veux, Ou Tu Veux Pas?”, “Le Soleil De Ma Vie” (the cover of Stevie Wonder‘s “You Are the Sunshine of My Life“) and the notorious “Je t’aime… moi non plus“. Bardot pleaded with Gainsbourg not to release this duet and he complied with her wishes; the following year he re-recorded a version with British-born model and actress Jane Birkin, which became a massive hit all over Europe. The version with Bardot was issued in 1986 and became a popular download hit in 2006 when Universal Records made their back catalogue available to purchase online, with this version of the song ranking as the third most popular download.[12]

    On 21 December 1952, at the age of 18, Bardot was married to director Roger Vadim. In order to receive permission from Bardot’s parents to marry her, Vadim, originally an Orthodox Christian, was urged to convert to Catholicism. They divorced five years later, but remained friends and collaborated in later work. Bardot had an affair with her co-star in And God Created Woman, Jean-Louis Trintignant (married at the time to French actress Stephane Audran), followed by her divorce from Vadim.[8][9] The two lived together for about two years. Their relationship was complicated by Trintignant’s frequent absence due to military service and Bardot’s affair with musician Gilbert Bécaud, and they eventually separated.[8]The 9 February 1958 edition of the Los Angeles Times reported on the front page that Bardot was recovering in Italy from a reported nervous breakdown. A suicide attempt with sleeping pills two days earlier was denied by her public relations manager.[13]On 18 June 1959, she married actor Jacques Charrier, by whom she had her only child, a son, Nicolas-Jacques Charrier (born 11 January 1960). After she and Charrier divorced in 1962, Nicolas was raised in the Charrier family and did not maintain close contact with Bardot until his adulthood.[8]Bardot’s other husbands were German millionaire playboy Gunter Sachs (14 July 1966 – 1 October 1969), and Bernard d’Ormale (16 August 1992 – present). She is reputed to have had relationships with many other men including her La Vérité co-star Sami Frey, musicians Serge Gainsbourg and Sacha Distel.[8][9] In the late 1950s, she shared an exchange she considered la croisée de deux sillages (“the crossing of two wakes”) with actor and true crime author John Gilmore, then an actor in France who was working on a New Wave film with Jean Seberg. Gilmore told Paris Match: ‘I felt a beautiful warmth with Bardot but found it difficult to discuss things in any depth whatsoever.’ In the 1970s, she lived with the sculptor Miroslav Brozek and posed for some of his sculptures.In 1974, Bardot appeared in a nude photo shoot in the Italian edition of Playboy magazine, which celebrated her 40th birthday.

    In 1973, just before her fortieth birthday, Bardot announced her retirement. After appearing in more than forty motion pictures and recording several music albums, most notably with Serge Gainsbourg, she chose to use her fame to promote animal rights.In 1986, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals].[14] She became a vegetarian[15] and raised three million French francs to fund the foundation by auctioning off jewelry and many personal belongings.[14] Today she is a strong animal rights activist and a major opponent of the consumption of horse meat. In support of animal protection, she condemned seal hunting in Canada during a visit to that country with Paul Watson of the Sea Shepherd Conservation Society.[16] She sought to discuss the issue with Stephen Harper, Prime Minister of Canada, though her request for a meeting was denied.[17][broken citation]She once had a neighbor’s donkey castrated while looking after it, on the grounds of its “sexual harassment” of her own donkey and mare, for which she was taken to court by the donkey’s owner in 1989.[18][19] In 1999, Bardot wrote a letter to Chinese President Jiang Zemin, published in French magazine VSD, in which she accused the Chinese of “torturing bears and killing the world’s last tigers and rhinos to make aphrodisiacs“.[20]She has donated more than $140,000 over two years for a
    mass sterilization and adoption program for Bucharest‘s stray dogs, estimated to number 300,000.[21] She is planning to house many of these stray animals in a new animal rescue facility that she is having built on her property.In August 2010, she addressed a letter to the Danish Queen, Margrethe II of Denmark appealing for the sovereign to halt the annual killing of dolphins in Faroe Islands. In the letter, Bardot describes the activity as a “macabre spectacle” that “is a shame for Denmark and the Faroe Islands.” She continued: “This is not a hunt but a mass slaughter” and also described it as an “outmoded tradition that has no acceptable justification in today’s world”.[22]

    Brigitte Bardot (2002)Bardot expressed support for President Charles de Gaulle in the 1960s.[8][23] Her husband Bernard d’Ormal is a former adviser of the far right Front National party.[9][23] Despite this association, Bardot has never joined the party and is not a known sympathiser.[3]In a book she wrote in 1999, called “Le Carré de Pluton” (Pluto’s Square), Bardot criticizes the procedure used in the ritual slaughter of sheep during the Muslim festival of Eid al-Adha. Additionally, in a section in the book entitled, Open Letter to My Lost France, Bardot writes: “…my country, France, my homeland, my land is again invaded by an overpopulation of foreigners, especially Muslims.”. For this comment, a French court fined her 30,000 francs in June 2000. She had previously been fined in 1997 for the original publication of this open letter in Le Figaro and again 1998 for making similar remarks.[20][24][25]In her 2003 book, Un cri dans le silence (“A Scream in the Silence“), she warned of an “Islamicization of France”, and said of Muslim immigration:Over the last twenty years, we have given in to a subterranean, dangerous, and uncontrolled infiltration, which not only resists adjusting to our laws and customs but which will, as the years pass, attempt to impose its own.[26]In May 2003, the Movement Against Racism and for Friendship between Peoples (MRAP) announced they were going to sue Bardot for the comments.[citation needed] The “Ligue des droits de l’homme” (Human Rights League) announced they were considering similar legal proceedings.[25]In the book, she also made comparisons of her close gay friends to today’s homosexuals who, “jiggle their bottoms, put their little fingers in the air and with their little castrato voices moan about what those ghastly heteros put them through” and that some contemporary homosexuals behave like “fairground freaks”.[27] In her own defence, Bardot wrote in a letter to a French gay magazine, saying, “Apart from my husband—who maybe will cross over one day as well—I am entirely surrounded by homos. For years, they have been my support, my friends, my adopted children, my confidants.”[28] Bardot’s book was also against “the mixing of genes“; made attacks on modern art, which Bardot equated with “shit”; drew similarities between French politicians and weather vanes; and compared her own beliefs with previous generations who had “given their lives to push out invaders”.[29]On 10 June 2004, Bardot was again convicted by a French court for “inciting racial hatred” and fined €5,000, the fourth such conviction/fine the French courts gave her.[30] Bardot denied the racial hatred charge and apologized in court, saying: “I never knowingly wanted to hurt anybody. It is not in my character.”[31]In 2008, she was once more convicted of inciting racial/religious hatred in relation to a letter she wrote, a copy of which she sent to Nicolas Sarkozy when he was Interior Minister of France. The letter stated her objections to Muslims in France ritually slaughtering sheep by slitting their throats without anesthetizing them first but also expressed that she was “fed up with being under the thumb of this population which is destroying us, destroying our country and imposing its habits” in reference to Muslims. The trial[32] concluded on 3 June 2008, with a conviction and fine of 15,000 Euros, the largest of her fines to date. The prosecutor stated that she was tired of charging Bardot with offences related to racial hatred.[5]During the 2008 United States presidential election she branded the Republican Party vice-presidential candidate, Sarah Palin a “disgrace to women”. She criticized the former governor of Alaska for her stance on global warming and gun control. She was also offended by Palin’s support for Arctic oil exploration and for her lack of consideration in protecting polar bears.[33]On August 13, 2010, she lashed out at director Kyle Newman in regards of his plans on making a biographical film on her life. Her response was, “Wait until I’m dead before you make a movie about my life!”. Bardot even warned Newman that if the project progresses “sparks will fly”.[34]

    Statue of Brigitte Bardot in Buzios, BrazilIn fashion the Bardot neckline (a wide open neck that exposes both shoulders) is named after her. Bardot popularized this style which is especially used for knitted sweaters or jumpers although it is also used for other tops and dresses.Bardot is recognized for popularizing bikini swimwear in early films such as Manina (Woman without a Veil, 1952), in her appearances at Cannes and in many photo shoots.Bardot also brought into fashion the choucroute (“Sauerkraut”) hairstyle (a sort of beehive hair style) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier.[35] She was the subject for an Andy Warhol painting.In addition to popularizing the bikini swimming suit, Bardot has also been credited with popularizing the city of St. Tropez and the town of Buzios, Brazil, which she visited in 1964 with her boyfriend at the time, Brazilian musician Bob Zagury.[36] A statue by Christina Motta[37] honours Brigitte Bardot in Buzios, Brazil.

    Brigitte Bardot wore a bikini at Cannes Film Festival in 1953, starting the trend of bikini-clad stars for the festivalBardot was idolized by young John Lennon and Paul McCartney.[38][39] They made plans to shoot a film featuring The Beatles and Bardot, similar to A Hard Day’s Night, but the plans were never fulfilled.[9] Lennon’s first wife Cynthia Powell lightened her hair color to more closely resemble Bardot, while George Harrison made comparisons between Bardot and his first wife Pattie Boyd, as Cynthia wrote

    later in A Twist of Lennon. Lennon and Bardot met in person once, in 1968 at the Mayfair Hotel, introduced by Beatles press agent Derek Taylor; a nervous Lennon took LSD before arriving, and neither star impressed the other. (Lennon recalled in a memoir, “I was on acid, and she was on her way out.”)[40]According to the liner notes of his first (self-titled) album, musician Bob Dylan dedicated the first song he ever wrote to Bardot. He also mentioned her by name in “I Shall Be Free”, which appeared on his second album, The Freewheelin’ Bob Dylan.She dabbled in pop music and played the role of a glamour model. In 1965, she appeared as herself in the Hollywood production Dear Brigitte (1965) starring James Stewart.In 1970, the sculptor Alain Gourdon used Bardot as the model for a bust of Marianne, the French national emblem.In 2007, she was named among Empire magazine’s 100 Sexiest Film Stars.[41]The first-ever official exhibition looking at Bardot’s influence and legacy opened in Paris on 29 September 2009 – a day after her 75th birthday.[42]

    Indie singer Jordan Galland also has a song called “Brigitte Bardot”. In 1966, Harry Belafonte recorded “Zombie Jamboree” which has an entire verse dedicated to Bardot.The most famous song about Brigitte Bardot in her home country, however, remains “Initials B.B.”, a song in French by Serge Gainsbourg, in which the singer describes poetically the sudden vision he has of the movie star while lost in an English pub. This song’s main theme was inspired by Dvorak’s “New world Symphony”. It is still widely broadcast on French radios today.Bardot has also been referenced in many other songs, including “I Shall Be Free” (Bob Dylan), “Mouth-to-Mouth Resuscitation” (John Hartford), We Didn’t Start the Fire” (Billy Joel), “Message of Love” (The Pretenders), “Dodo” (David Bowie), “I Think I’m Going To Kill Myself” (Elton John), “Warlocks” (Red Hot Chili Peppers), “You Went The Wrong Way, Old King Louie” (Allan Sherman), “You’re My Favourite Star” (The Bellamy Brothers), “It’s Not Enough” (The Who), “Contempt” (Silkworm), “Big Wedge” (Fish), “Brigitte Bardot” (Tom Zé), “Alegria, Alegria” (Caetano Veloso), “Loaded” (ZZ Top), “Brigitte Bardot” (Creature), “Moscow Discow” (Telex), “Shir Nevu’i Cosmi Aliz” (Yoni Rechter & Eli Mohar), “Smiles Like Richard Nixon” (The Bad Examples), “The Naughty Little Flea” (Miriam Makeba), “Bijou” (Stew), “Stratford-On-Guy” (Liz Phair), “Barbarella” (Paul Baribeau), “Brigitte Bardot T.N.T.” (Pizzicato Five), “Zombie Jamboree” (Harry Belafonte), “Porta Portese” (Claudio Baglioni), “Aclimatándonos” (La Tabaré Riverock Banda) as well as “Force ou Faiblesse” by French rapper Disiz la Peste, “Se og hør” (Raga Rorckers). Also, she is mentioned in Damien Dempsey‘s 2007 single “Your Pretty Smile”, Robin Thicke‘s 2009 single “Meiplé (Me I Play)” featuring Jay-Z, “Just Like Brigitte Bardot”, Joshua Kadison, and “The Actor” by Robbie Williams.

    Year Film Role Notes
    1952 Les dents longues Bridesmaid (The Long Teeth) Uncredited
    Le trou normand Javotte Lemoine (Crazy for Love)
    Manina, la fille sans voile Manina (Manina, the Girl in the Bikin)
    1953 Le portrait de son père Domino (His Father’s Portrait )
    Une acte d’amour Mimi (Act of Love)
    1954 Si Versailles n’était conté Mademoiselle de Rozille (Rotal Affairs in Versailles)
    Tradita Anna (Concert of Intrigue)
    1955 Le fils de Caroline chérie Pilar d’Aranda (Caroline and the Rebels)
    Futures Vedettes Sophie (Sweet Sixteen)
    Doctor at Sea Hélène Colbert
    Les grandes manoeuvres Lucie (The Grand Maneuver)
    La lumière d’en face Olivia Marceau (The Light actross the Street)
    1956 Helen of Troy Andraste
    Cette sacrée gamine Brigitte Latour (Mam’zelle Pigalle)
    Mio figlio Nerone Poppea (Nero’s Weekend)
    Mademoiselle Striptease Agnès Dumont (Plucking the Daisy)
    La Mariée est trop belle Chouchou (The Bride is Too Beutiful)
    Et Dieu… créa la femme Juliette Hardy (And God Created Woman)
    1957 Une Parisienne Brigitte Laurier
    1958 Les bijoutiers du claire de lune Ursula (The Night Heaven Fell)
    En cas de malheur Séverine Serizy (In case of adversity)
    1959 La femme et le pantin Eva Marchand (A Woman Like Satan)
    Babette s’en va-t-en guerre Babette (Babette Goes to War)
    Voulez-vous danser avec moi? Virginie Dandieu (Come Dance with Me!)
    1960 L’affaire d’une nuit Woman in restaurant (It Happened at Night) Cameo
    La Vérité Dominique Marceau (The Truth) David di Donatello Award for Best Foreign Actress
    1961 La Bride sur le cou Sophie (Please!, Not Now!)
    Amours célèbres Agnès Bernauer (Famous Love Affairs)
    1962 Vie privée Jill (A Very Private Affair)
    Le repos du guerrier Geneviève Le Theil (Warrior’s Rest)
    1963 Contempt Camille Javal (Le Mépris)
    1964 Une ravissante idiote Penelope Lightfeather (The Ravishing Idiot)’
    1965 Dear Brigitte Herself Cameo
    Viva Maria! Maria I Nomination – BAFTA Award for Best Foreign Actress
    1966 Masculin, féminin Actress in bistro Cameo
    1966 À coeur joie Cecile (Two Weeks in September )
    1968 Histoires extraordinaires Giuseppina (Spirits of the Dead)
    Shalako Countess Irina Lazaar (Courage – Let’s Run)
    1969 Les Femmes Clara (The Vixen)
    1970 L’ours et la poupée Felicia (The Bear and the Doll)
    Les Novices Agnès
    1971 Boulevard du Rhum Lind

    a Larue

    (Rum Runners)
    Les Pétroleuses Louise (The Legend of Frenchie King)
    1973 Don Juan ou Si Don Juan était une femme Jeanne (Don Juan, or If Don Juan Were a Woman)
    L’histoire très bonne et très joyeuse de Colinot Trousse-Chemise Arabelle (The Edifying and Joyous Story of Colinot)

    Bardot released several albums during the 1950s and 1960s[43]

    • And God Created Women (1957, Decca)
    • Behind Brigitte Bardot (1960, Warner Bros)
    • Brigitte Bardot Sings (1963, Philips)
    • B.B. (1964, Philips)
    • Brigitte Bardot Show 67 (1967, Mercury)
    • Brigitte Bardot Show (1968, Mercury)
    • [Burlington Cameo Brings You] Special Bardot (1968. RCA)
    • Single Duet with Serge Gainsbourg “Bonnie and Clyde”

  • ^ “Films and Music by Brigitte Bardot”. Rate Your Music. Retrieved 2010-03-13. 
  • ^ “Daily Celebrations ~ Brigitte Bardot, Cat Transformed ~ 25 August ~ Ideas to motivate, educate, and inspire”. Retrieved 2010-03-13. 
  • ^ a b Happy birthday, Brigitte Bardot The Guardian. 22 September 2009
  • ^ The Big Question: How does the French honours system work, and why has Kylie been decorated? The Independent. 8 May 2008
  • ^ a b “Bardot fine for stoking race hate”. London: BBC News. 2008-06-03. Retrieved 2008-06-03. 
  • ^ “Bardot fined for racist remarks”. London: BBC News. 2000-06-16. Retrieved 2008-06-04. 
  • ^ “Brigitte Bardot Biography”. The Biography Channel. Retrieved 2010-03-13. 
  • ^ a b c d e f Bardot, Brigitte (1996). Initiales B.B.. Grasset & Fasquelle. ISBN 2-246-52601-9. 
  • ^ a b c d e f g Robinson, Jeffrey (1994). Bardot — Two Lives. Simon & Schuster (London). ASIN: B000KK1LBM. 
  • ^ Awards for Brigitte Bardot IMDB. Retrieved on 21 August 2010
  • ^ “Brigitte Bardot Gives Up Films At Age Of 39”. The Modesto Bee. UPI (Modesto, California): p. A-8. June 7, 1973. Retrieved August 17, 2010. 
  • ^ “Bardot revived as download star”. BBC News. 17 October 2006. Retrieved 3 August 2010. 
  • ^ “LA times 1958”. Retrieved 2010-08-21. 
  • ^ a b “Brigitte Bardot foundation for the welfare and protection of animals”. Retrieved 21 August 2010. 
  • ^ Follain, John (2006-04-09). Brigitte Bardot. The Times Online, Life & Style. Retrieved 2 April 2009.
  • ^ Hardline warrior in war to save the whaleThe New Zealand Herald, Monday 11 January 2010
  • ^ “BRIGITTE BARDOT FOUNDATION for the welfare and protection of animals”. Retrieved 2010-03-13. 
  • ^ “PHOTOICON ONLINE FEATURES: Andy Martin: Brigitte Bardot”. Retrieved 2010-03-13. 
  • ^ “Mr Pop History”. Mr Pop History. Retrieved 2010-03-13. 
  • ^ a b “Bardot savages Chirac and China”. London: BBC News. 1999-08-19. Retrieved 2010-03-13. 
  • ^ “Bardot ‘saves’ Bucharest’s dogs”. London: BBC News. 2001-03-02. Retrieved 2010-03-13. 
  • ^ Brigitte Bardot pleads to Denmark in dolphin ‘slaughter’ AFP. 19 August 2010
  • ^ a b “Drinking champagne with: Brigitte Bardot; And God Created An Animal Lover By Alan Riding, published: 30 March 1994”. The New York Times. 2008-01-14. Retrieved 2008-01-14. 
  • ^ “BBC News Bardot racism conviction upheld”. London: BBC News. 2001-05-11. Retrieved 2008-01-17. 
  • ^ a b “Bardot anti-Muslim comments draw fire”. London: BBC News. 2003-05-14. Retrieved 2008-01-17. 
  • ^ “Brigitte Bardot’s Cry In The Silence”. By David Orland. 2003-09-02. Retrieved 2008-01-14. 
  • ^ Webster, Paul; David Hearst (5 May 2003). “Anti-gay, anti-Islam Bardot to be sued”. The Guardian. Retrieved 2009-10-03. 
  • ^ “Brigitte a Political Animal by David Usborne”. The Independent (London). 2006-03-24. Retrieved 2008-01-09. [dead link]
  • ^ “Bardot fined for ‘race hate’ book”. London: BBC News. 2004-06-10. Retrieved 2008-06-03. 
  • ^ Larent, Shermy (2003-05-12). “Brigitte Bardot unleashes colourful diatribe against Muslims and modern France”. Indybay. Retrieved 2010-03-13. 
  • ^ “Bardot denies ‘race hate’ charge”. London: BBC News. 2003-05-07. Retrieved 2008-01-17. 
  • ^ “Brigitte Bardot: Heroine of Free Speech”. Retrieved 2010-03-13. 
  • ^ Brigitte Bardot calls Sarah Palin a ‘disgrace to women’ The Telegraph. 8 October 2008
  • ^ “BRIGITTE BARDOT: ‘WAIT UNTIL I’M DEAD BEFORE YOU MAKE BIOPIC’ | Showbiz Spy – celebrity news, rumors & gossip”. Showbiz Spy. 2010-08-14. Retrieved 2010-08-21. 
  • ^ “Style Icon : Brigitte Bardot”. Retrieved 2010-03-13. 
  • ^ “BuziosOnline., Character and stories. Retrieved 19 December 2007”. Retrieved 2010-03-13. 
  • ^ “”. Retrieved 2010-03-13. 
  • ^ Miles, Barry (1998). Many Years From Now. Vintage–Random House. ISBN 0-7493-8658-4.  p69
  • ^ Spitz, Bob (2005). The Beatles: The Biography. Little, Brown and Company (New York). ISBN 1-84513-160-6.  p171
  • ^ Lennon, John (1986). Skywriting by Word of Mouth. Harper Collins. ISBN 0060156562.  p24
  • ^ Retrieved 19 December 2007.
  • ^ Brigitte Bardot at 75: the exhibition The Connexion — The Newspaper for English speakers on France, Connexion edition: September 2009
  • ^ “Brigitte Bardot discography”. allmusic. Retrieved 2010-08-21. 
    • Brigitte Tast, Hans-Jürgen Tast (Hrsg.) Brigitte Bardot. Filme 1953-1961. Anfänge des Mythos B.B. (Hildesheim 1982) ISBN 3-88842-109-8.
    • Singer, Barnett Brigitte Bardot: A Biography (McFarland & Company, 2006) ISBN 0-7864-2515-6, ISBN 978-0-7864-2515-0

    Barbara Stanwyck


    Barbara Stanwyck

    From Lady of Burlesque (1943) Born Ruby Katherine Stevens
    July 16, 1907(1907-07-16)
    Brooklyn, New York, U.S. Died January 20, 1990 (aged 82)
    Santa Monica, California, U.S. Occupation Actress Years active 1927–1986 Spouse Frank Fay (1928–1935) (divorced) 1 child
    Robert Taylor (1939–1951) (divorced)

    Barbara Stanwyck (July 16, 1907 – January 20, 1990) was an American actress, a film and television star, known during her 60-year career as a consummate and versatile professional with a strong screen presence, and a favorite of directors including Cecil B. DeMille, Fritz Lang and Frank Capra. After a short stint as a stage actress, she made 85 films in 38 years in Hollywood, before turning to television.Stanwyck was nominated for the Academy Award four times, and won three Emmy Awards and a Golden Globe. She was the recipient of honorary lifetime awards from the Motion Picture Academy, the Film Society of Lincoln Center, the Golden Globes, the Los Angeles Film Critics Association, and the Screen Actors Guild, has a star on the Hollywood Walk of Fame and is ranked as the eleventh greatest female star of all time by the American Film Institute.[1]


    Barbara Stanwyck was born Ruby Catherine Stevens in Brooklyn, New York on July 16, 1907.[2] She was the fifth and last child of Byron and Catherine McGee Stevens; the couple were working-class natives of Chelsea, Massachusetts and were of English and Irish extraction, respectively.[2] When Ruby was four, her mother was killed when a drunken stranger pushed her off a moving streetcar.[3] Two weeks after the funeral, Byron Stevens joined a work crew digging the Panama canal;[4] and was never seen again.[3] Ruby and her brother Byron were raised by their sister Mildred, who was five years older than Ruby.[4] When Mildred got a job as a John Cort showgirl, Ruby and Byron were placed in a series of foster homes (as many as four in a year), from which Ruby often ran away.[5] Ruby attended various public schools in Brooklyn, where she received uniformly poor grades and routinely picked fights with the other students.[6]During the summers of 1916 and 1917, when Ruby was nine and ten years old, she toured with her sister Mildred, and practiced Mildred’s routines backstage.[6] Another influence toward performing was watching the movies of Pearl White, whom Ruby idolized.[7] At age 14, she dropped out of school to take a job wrapping packages at a Brooklyn department store.[8][9] Soon after she took a job filing cards at the Brooklyn telephone office for a salary of $14 a week, a salary that allowed her to become financially independent.[10] Ruby disliked both jobs; she was interested in show business, but her sister Mildred discouraged the idea, so Ruby next took a job cutting dress patterns for Vogue; customers complained of her poor work and Ruby was fired.[11] Ruby’s next job was as a typist for the Jerome H. Remick Music Company, a job she enjoyed; her true interest, however, was still show business, and her sister gave up dissuading her.[12] In 1923, a few months short of her 16th birthday, Ruby auditioned for a place in the chorus at the Strand Roof, a night club over the Strand Theatre in Times Square.[13] A few months thereafter she obtained a job as a Ziegfeld girl in the 1922 and 1923 editions of the Ziegfeld Follies.[14] For the next several years, Ruby worked as a chorus girl, performing from midnight to seven a.m. at nightclubs owned by Texas Guinan; she also occasionally served as a dance instructor at a speakeasy for gays and lesbians owned by Guinan.[15]

    “I knew that after fourteen I’d have to earn my own living, but I was willing to do that…. I’ve always been a little sorry for pampered people, and of course, they’re very sorry for me.”
    Barbara Stanwyck, in a 1937 interview[11]

    In 1926, Ruby was introduced to Willard Mack by Billy LaHiff, who owned a popular pub frequented by showpeople.[16] Mack was casting his play The Noose; LaHiff suggested that the part of the chorus girl could be played by a real chorus girl, and Mack agreed to let Ruby audition.[17] Ruby obtained the part, but the play was not a success. In a bid to add pathos to the drama, Ruby’s part was expanded.[18] At the suggestion of either Mack or David Belasco, Ruby adopted the stage name of Barbara Stanwyck; the “Barbara” came from Barbara Frietchie and the “Stanwyck” from English actress Jane Stanwyck.[19] The Noose re-opened on October 20, 1926,[19] became one of the most successful of the season, running for nine months and 197 performances.[14] Stanwyck co-starred with actors Rex Cherryman and Wilfred Lucas. Cherryman and Stanwyck began a romantic relationship.[20]Her
    erformance in The Noose earned rave reviews, and she was summoned by film producer Bob Kane to make a screen test for his upcoming 1927 silent film Broadway Nights where she won a minor part of a fan dancer after losing out on the lead role, because she could not cry during the screen test.[21] This marked Stanwyck’s first film appearance. She played her first lead part on stage that year in Burlesque; the play was critically panned, but Stanwyck’s performance netted her rave reviews.[5] While playing in Burlesque, Stanwyck was introduced to actor Frank Fay by Oscar Levant; Stanwyck and Fay both later claimed they had hated each other immediately, but they became close after the sudden death of Rex Cherryman at the age of 30.[5] Cherryman had become ill early in 1928, and his doctor had advised a sea voyage; while on a ship to Paris, where he and Stanwyck had arranged to meet, Cherryman died of septic poisoning.[22] Stanwyck and Fay married in August of that year and moved to Hollywood.[5]

    From the trailer for The Lady Eve (1941)Stanwyck’s first sound film was The Locked Door (1928), followed by Mexicali Rose in 1929. Neither film was successful; nonetheless, Frank Capra chose Stanwyck for his Ladies of Leisure (1930).[14] Numerous memorable roles followed, among them the self-sacrificing mother in Stella Dallas (1937), the con artist who falls for her would-be victim (played by Henry Fonda) in The Lady Eve (1941), the woman who talks an infatuated insurance salesman (Fred McMurray) into killing her husband in Double Indemnity (1944), and the doomed shrewish wife in Sorry, Wrong Number (1948). Stanwyck was one of the actresses considered for the role of Scarlett O’Hara in Gone With The Wind (1939), although she wasn’t given a screen test. In 1944, Stanwyck was the highest-paid woman in the United States.[14]

    “That is the kind of woman that makes whole civilizations topple.”
    Kathleen Howard of Stanwyck’s character in Ball of Fire[23]

    Pauline Kael described Stanwyck’s acting, “[she] seems to have an intuitive understanding of the fluid physical movements that work best on camera” and in reference to her early 1930s film work “early talkies sentimentality … only emphasizes Stanwyck’s remarkable modernism.”[24]Stanwyck was known for her accessibility and kindness to the backstage crew on any film set. She knew the names of their wives and children, and asked after them by name. Frank Capra said she was “destined to be beloved by all directors, actors, crews and extras. In a Hollywood popularity contest she would win first prize hands down.”[25]

    When Stanwyck’s film career declined in 1957, she moved to television. Her 1961–1962 series The Barbara Stanwyck Show was not a ratings success but earned her first Emmy Award.[14] The 1965–1969 Western series The Big Valley on ABC made her one of the most popular actresses on television, winning her another Emmy.[14] She was billed as “Miss Barbara Stanwyck,” and her role as head of a frontier family was likened to that of Ben Cartwright, played by Lorne Greene in series Bonanza. Stanwyck’s costars included Richard Long (who had been in Stanwyck’s 1953 film All I Desire), Peter Breck, Linda Evans, and Lee Majors.Years later, Stanwyck earned her third Emmy for The Thorn Birds.[14] In 1985, she made three guest appearances on the hit primetime soap opera Dynasty prior to the launch of its ill-fated spin-off series The Colbys in which she starred alongside Charlton Heston, Stephanie Beacham and Katharine Ross. Disappointed with the experience, Stanwyck remained with the series for only one season[14] (it lasted for two), and her role as Constance Colby Patterson would prove to be her last. Earl Hamner Jr. (producer of The Waltons) had initially wanted Stanwyck for the lead role of Angela Channing on the successful 1980s soap opera, Falcon Crest, but she turned it down.William Holden credited her with saving his career when they co-starred in Golden Boy (1939). They remained lifelong friends. When Stanwyck and Holden were presenting the Best Sound Oscar, Holden paused to pay a special tribute to Stanwyck. Shortly after Holden’s death, Stanwyck returned the favor upon receiving her honorary Oscar, she said with an emotion “tonight my golden boy you got your wish”.

    With Robert Taylor in 1941Her first husband was actor Frank Fay. They were married on August 26, 1928. On December 5, 1932, they adopted a son, Dion Anthony “Tony” Fay, who was one month old. (He and Stanwyck eventually became estranged.) The marriage was a troubled one; Fay’s successful career on Broadway did not translate to the big screen, whereas Stanwyck achieved Hollywood stardom, after a bumpy start. Also, Fay reportedly did not shy away from physical confrontations with his young wife, especially when he was inebriated. Some film historians claim that the marriage was the basis for A Star is Born.[26] The couple divorced on December 30, 1935.In 1936, while making the film His Brother’s Wife, Stanwyck met and fell in love with her co-star, Robert Taylor. Following a whirlwind romance, the couple began living together. Their 1939 marriage was arranged with the help of Taylor’s studio MGM, a common practice in Hollywood’s golden age. She and Taylor enjoyed time together outdoors during the early years of their marriage, and were the proud owners of many acres of prime West Los Angeles property. Their large ranch and home in the Mandeville Canyon section of Brentwood in Los Angeles is to this day referred to by locals as the old “Robert Taylor ranch”.Taylor had several affairs during the marriage, including one with Ava Gardner. Stanwyck was rumored to have attempted suicide when she learned of Taylor’s fling with Lana Turner. She ultimately filed for divorce in 1950 when a starlet made Turner’s romance with Taylor public. The decree was granted on February 21, 1951. After the divorce, they acted together in Stanwyck’s last feature film The Night Walker (1964). Stanwyck was reportedly devastated when many of his old letters and photos were lost in a house fire. She never remarried, collecting alimony of 15 percent of Taylor’s salary until his death in 1969.Stanwyck had an affair with actor Robert Wagner, whom she met on the set of Titanic. Wagner, who was 22 years old, and Stanwyck, who was 45 at the beginning of the affair, enjoyed a four-year romance, as described in Wagner’s 2008 memoir, Pieces of My Heart. Stanwyck eve

    ntually broke off the relationship.[27]She was very close friends with film actress Joan Crawford from the 1930s until Crawford’s death from cancer in the spring of 1977.[28]She was a Protestant[29].

    Stanwyck’s retirement years were active, with charity work done completely out of the limelight. Her decline started following a robbery and beating at her Beverly Hills home in 1981.[30]Barbara Stanwyck died of congestive heart failure, emphysema and chronic obstructive lung disease at St. John’s Hospital, in Santa Monica, California, in 1990. She was 82. Her body was cremated, and her ashes scattered in Lone Pine, California.

    Main article: Barbara Stanwyck filmography

    • 1938 – nominated – “Best Actress in a Leading Role” – Stella Dallas
    • 1942 – nominated – “Best Actress in a Leading Role” – Ball of Fire
    • 1945 – nominated – “Best Actress in a Leading Role” – Double Indemnity
    • 1949 – nominated – “Best Actress in a Leading Role” – Sorry, Wrong Number
    • 1982 – won – Honorary Award: “For superlative creativity and unique contribution to the art of screen acting.”

    • 1961 – won – “Outstanding Performance by an Actress in a Series (Lead)” – The Barbara Stanwyck Show
    • 1966 – won – “Outstanding Continued Performance by an Actress in a Leading Role in a Dramatic Series” – The Big Valley
    • 1967 – nominated – “Outstanding Continued Performance by an Actress in a Leading Role in a Dramatic Series” – The Big Valley
    • 1968 – nominated – “Outstanding Continued Performance by an Actress in a Leading Role in a Dramatic Series” – The Big Valley
    • 1983 – won “Outstanding Lead Actress in a Limited Series or a Special” – The Thorn Birds (part 1)

    • 1966 – nominated – “Best TV Star – Female” – The Big Valley
    • 1967 – nominated – “Best TV Star – Female” – The Big Valley
    • 1968 – nominated – “Best TV Star – Female” – The Big Valley
    • 1984 – won – “Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for TV” – The Thorn Birds
    • 1986 – won – Cecil B. DeMille Award

    • 1967 – won – Screen Actors Guild – Life Achievement Award
    • 1981 – won – Film Society of Lincoln Center – Gala Tribute
    • 1981 – won – Los Angeles Film Critics Association – Career Achievement Award
    • 1987 – won – American Film Institute – Life Achievement Award
    • Hollywood Walk of Fame – star at 1751 Vine Street

    In 1973, she was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

  • ^ “AFI’s 100 Years…100 Stars”. American Film Institute. Retrieved 2006-10-23. 
  • ^ a b Madsen (1994), 8.
  • ^ a b Flint (1990).
  • ^ a b Madsen (1994), 9.
  • ^ a b c d Nassour and Snowberger (2000).
  • ^ a b Madsen (1994), 10.
  • ^ Diorio, Al Barbara Stanwyck: a Biography
  • ^ Prono (2008), 240.
  • ^ Ruby never attended high school, “although early biographical thumbnail sketches had her attend Brooklyn’s famous Erasmus Hall High School” (Madsen [1994], 11).
  • ^ Madsen (1994), 11-12.
  • ^ a b Madsen (1994), 12.
  • ^ Madsen (1994), 12-13.
  • ^ Madsen (1994), 13.
  • ^ a b c d e f g h Prono (2008), 241.
  • ^ Madsen (1994), 17, 18.
  • ^ Madsen (1994), 21.
  • ^ Madsen (1994), 22.
  • ^ Madsen (1994), 25.
  • ^ a b Madsen (1994), 26.
  • ^ Muller (1998).
  • ^ “Barbara Stanwyck”. Retrieved 2008-11-02. 
  • ^ Madsen (1994), 32.
  • ^ “A Century of Stanwyck” (2009).
  • ^ “Quotation of review of the film Ladies of Leisure”, Retrieved September 25, 2008. “Quoted From page 403, Kael, Pauline.5001 Nights At The Movies, Henry Holt, 1991. ISBN 978-0805013672
  • ^ Eyman (2007), 1J.
  • ^ Prono (2008), 242.
  • ^ King (2008).
  • ^
  • ^
  • ^ Barbara Stanwyck, ‘A Stand-Up Dame’
    • Bachardy, Don. Stars in My Eyes. University of Wisconsin Press, 2000. ISBN 0299167305.
    • Balio, Tino. Grand design: Hollywood as a modern business enterprise, 1930-1939. University of California Press, 1995. ISBN 052020


    • “A Century of Stanwyck.” The Commercial Appeal (Memphis, TN) 4 May 2009. Accessed through Access World News on 16 June 2009.
    • Chierichetti, David, and Edith Head. Edith Head: the life and times of Hollywood’s celebrated costume designer. HarperCollins, 2003. ISBN 0060567406.
    • Eyman, Scott. “The Lady Stanwyck.” The Palm Beach Post (FL) 15 July 2007. P. 1J. Accessed through Access World News on 16 June 2009.
    • Flint, Peter B. “Barbara Stanwyck, Actress, Dead at 82.The New York Times. January 22, 1990. D11.
    • Hall, Dennis. American icons: an encyclopedia of the people, places, and things that have shaped our culture. Greenwood Publishing Group, 2006. ISBN 027598429X.
    • Hirsch, Foster. The Dark Side of the Screen: Film Noir. Da Capo Press, 2008. ISBN 0306817721.
    • King, Susan. “Wagner Memoir Tells of Wood Death, Stanwyck Affair.” San Jose Mercury News (CA) 5 October 2008. P. 6D. Accessed through Access World News on 16 June 2009.
    • Lesser, Wendy. His Other Half: Men Looking at Women Through Art. Harvard University Press, 1992. ISBN 0674392116.
    • Madsen, Axel. Stanwyck: A Biography. HarperCollins, 1994. ISBN 006017997X.
    • Muller, Eddie. Dark City: The Lost World of Film Noir. St. Martin’s Griffin, 1998. ISBN 0312180764.
    • Nassour, Ellis, and Beth A. Snowberger. “Stanwyck, Barbara.” American National Biography Online (subscription only), February 2000. Accessed 1 July 2009.
    • Schackel, Sandra. “Barbara Stanwyck: Uncommon Heroine.” In Back in the saddle: essays on Western film and television actors. Ed. by Gary A. Yoggy. McFarland Publishing, 1998. ISBN 078640566X.
    • The Rumble: An Off-the-Ball Look at Your Favorite Sports Celebrities.” New York Post 31 December 2006. Accessed 16 June 2009.

    Allison Hayes (March 6, 1930 – February 27, 1977) was an American film and television actress and model.


    Born Mary Jane Hayes in Charleston, West Virginia, Hayes won the title of Miss District of Columbia and represented Washington, DC in the 1949 Miss America pageant. Although unsuccessful, it provided her with the opportunity to work in local television before moving to Hollywood to work for Universal Pictures in 1954.

    Hayes’ made her film debut in the 1954 comedy Francis Joins the WACS. Her second film, Sign of the Pagan, provided her with an important role in a relatively minor film. Opposite Jack Palance, she played the part of a siren who ultimately kills him. Despite the strength of her second film role, she played minor roles in her next few films. Originally cast in Foxfire (1955), she was removed from the film during a lawsuit filed against Universal Pictures for injuries, including broken ribs, that she had sustained during the filming of Sign of the Pagan. Released from her contract, she was signed by Columbia Pictures in 1955.Her first film for Columbia, Chicago Syndicate, did not require her to do more than look glamorous in a series of evening gowns. Her next film Count Three and Pray, however, gave her the role that she later described as the best of her career. Hayes played the wife of Van Heflin, co-starring with Raymond Burr and Joanne Woodward in her debut. As a “Southern Belle” finally reduced to the role of a housekeeper, Hayes had several dramatic scenes. However, when the film was released much of the attention of reviewers was focused on Woodward, and Hayes was largely ignored. She appeared in films such as Steel Jungle, Mohawk, and Gunslinger (all 1956) but a fall from a horse during the filming of the latter left Hayes with a broken arm and unable to work. After she recovered she began appearing in supporting roles in television productions.In 1958 she played in several B movies, including Wolf Dog, shot in Canada, as well as taking the leading role in Attack of the 50 Foot Woman (1958). With its science fiction storyline and low budget, the film attained popularity with some movie fans, and in the subsequent years has attracted a cult film following. The film did not lead to better roles, though she remained constantly employed, and also found work as a model. During 1963 and 1964 she played a continuing role in the soap opera General Hospital but by this time her career was virtually over. A close friend of Raymond Burr since filming Count Three and Pray, she made five guest appearances on his Perry Mason series during this time.As her acting career declined, she began to experience severe health problems, and was unable to walk without a cane. In severe pain, her usually good natured personality began to change and she became emotional and volatile, making it difficult for her to secure acting work. She was given a very minor role in the 1965 Elvis Presley film Tickle Me, making her final appearances in a guest role on Gomer Pyle, U.S.M.C. in 1967.

    Hayes later said that the pain of her illness caused her to contemplate suicide, and that her symptoms were not taken seriously by doctors. Reading a medical book about the metal poisoning of factory workers, Hayes recognized the symptoms described as being similar to her own. Hayes began to question the ingredients of a calcium supplement she had been taking for a long time and when she employed a toxicologist to test a sample of the product, he determined that it had an extremely high content of lead and concluded that Hayes was most likely suffering from lead poisoning. Hayes mounted a campaign to have the FDA ban the import or sale of the food supplement, finally achieving success in 1976 when they advised her that amendments were being made to the laws governing the importation of nutritional supplements, largely as a result of her situation.An invalid, Hayes moved to San Clemente, California and her health continued to deteriorate. In 1976, she was diagnosed with leukemia and was treated regularly at La Jolla. While at the hospital receiving a blood transfusion, her condition unexpectedly and rapidly deteriorated as she experienced chills, flu-like symptoms and intense pain. She was transferred to the University of California Medical Center in San Diego where she died the following day.

    Year Film Role Notes
    1954 Francis Joins the WACS Lt. Dickson
    Sign of the Pagan Ildico
    1955 So This Is Paris Carmen Alternative titles: Three Gobs in Paris and So This Is Paree
    The Prodigal Bit role Uncredited
    The Purple Mask Irene de Bournotte
    Double Jeopardy Barbara Devery Alternative title: Crooked Ring
    Chicago Syndicate Joyce Kern, alias Sue Morton
    Count Three and Pray Georgina Decrais Alternative title: The Calico Pony
    1956 The Steel Jungle Mrs. Archer
    Mohawk Greta Jones
    Gunslinger Erica Page
    1957 Zombies of Mora Tau Mona Harrison

    Alternative title: The Dead That Walk
    The Unearthly Grace Thomas
    The Disembodied Tonda Metz
    1958 Hong Kong Confidential Elena Martine
    Attack of the 50 Foot Woman Nancy Fowler Archer
    Wolf Dog Ellen Hughes
    1959 A Lust to Kill Sherry
    Pier 5, Havana Monica Gray
    Counterplot Connie Lane
    1960 The Hypnotic Eye Justine
    The High Powered Rifle Sharon Hill Alternative title: Duel in the City
    1963 The Crawling Hand Donna Alternative title: Don’t Cry Wolf
    Who’s Been Sleeping in My Bed? Mrs. Grayson
    1965 Tickle Me Mabel
    Year Title Role Notes
    1955 Four Star Playhouse Christine 1 episode
    1957 The Ford Television Theatre Marian Abbott 1 episode
    Death Valley Days Mary Granger 1 episode
    The Millionaire Linda Kendall 1 episode
    The Web Blonde 1 episode
    1957–1959 Tombstone Territory Various roles 4 episodes
    1958 Cool and Lam Evaline Dell Television pilot
    1958–1960 Bat Masterson Ellie White 7 episodes
    1959 Mike Hammer Miriam Courtney 1 episode
    The Rough Riders Ellen Johnston 1 episode
    Markham Marina 1 episode
    Captain David Grief Melba 1 episode
    World of Giants 1 episode
    Rawhide Rose Morton 1 episode
    The Alaskans Stella 1 episode
    1960 Richard Diamond, Private Detective Angel Case 1 episode
    Men Into Space Mandy Holcomb 1 episode
    77 Sunset Strip Marianne Winston Episode: “The Parallel Caper“
    The Untouchables Mrs. Charles “Pops” Felcher 1 episode
    1960–1965 Perry Mason Various roles 5 episodes
    1961 Acapulco Chloe Unknown episodes
    The Case of the Dangerous Robin 1 episode
    Dick Powell’s Zane Grey Theater Millie 1 episode
    Laramie Francie 1 episode
    Surfside 6 Lotta Episode: “Prescription for Panic“
    1962 Ripcord Laura Coulter 1 episode
    Bachelor Father Loretta 1 episode
    Kraft Mystery Theatre 1 episode
    1963–1964 General Hospital Priscilla Longsworth Unknown episodes
    1966 The F.B.I. Anne Frazier 1 episode
    1967 The Iron Horse Dana 1 episode
    Gomer Pyle, U.S.M.C. Rose Pilchek 2 episodes

    Gene Tierney

    Gene Tierney

    from the trailer for The Ghost and Mrs. Muir (1947) Born Gene Eliza Tierney
    November 19, 1920(1920-11-19)
    Brooklyn, New York, U.S. Died November 6, 1991 (aged 70)
    Houston, Texas, U.S. Occupation Actress Years active 1940–1980 Spouse(s) Oleg Cassini (1941–1952)
    W. Howard Lee (1960–1981)

    Gene Eliza Tierney (November 19, 1920 – November 6, 1991)[1] was an American film and stage actress. Acclaimed as one of the great beauties of her day, she is best-remembered for her performance in the title role of Laura (1944) and her Academy Award-nominated performance for Best Actress in Leave Her to Heaven (1945).[2] Other notable roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor’s Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951) and Anne Scott in The Left Hand of God (1955). Certain of her film-related material and personal papers are contained in the Wesleyan University Cinema Archives, to which scholars and media experts from around the world may have full access.[3]


    Tierney was born in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavina Taylor. She had an elder brother, Howard Sherwood “Butch” Tierney, Jr., and a younger sister, Patricia “Pat” Tierney. Her father was a prosperous insurance broker of Irish descent, her mother a former gym teacher.Tierney attended St. Margaret’s School in Waterbury, Connecticut, and the Unquowa School in Bridgeport, Connecticut. Her first poem, entitled “Night,” was published in the school magazine, and writing verse became an occasional pastime during the rest of her life. She then spent two years in Europe and attended the Brillantmont finishing school in Lausanne, Switzerland, where she learned to speak fluent French.Tierney returned to the U.S. in 1938 and attended Miss Porter’s School. On a trip to the West Coast, she visited Warner Bros. studios. The director Anatole Litvak, who was so taken by the seventeen-year-old’s beauty, told her that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the low salary.[4]Tierney’s coming-out party as a debutante occurred on September 24, 1938, when she was 17 years old.[5] She was bored with society life and decided to pursue a career in acting. Her father felt “If Gene is to be an actress, it should be in the legitimate theatre.” Tierney studied acting at a small Greenwich Village acting studio in New York with Benno Schneider.[6][7]

    In Tierney’s first part on Broadway, she carried a bucket of water across the stage in What a Life! (1938).[8] A Variety magazine critic declared, “Miss Tierney is certainly the most beautiful water carrier I’ve ever seen!” At the same time, she was an understudy for The Primrose Path (1938).[8] The next year, she appeared in the role as Molly O’ Day in the Broadway production Mrs. O’ Brien Entertains (1939).[9] The New York Times critic Brooks Atkinson wrote, “As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest.”[10] That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts, Jr. of the New York Herald Tribune wrote, “I see no reason why Miss Tierney should not have an interesting theatrical career, that is if cinema does not kidnap her away.”[11]Tierney’s father set up a corporation, Belle-Tier, to fund and promote her acting career (He later went on to steal all of her money).[12] Columbia Pictures signed her to a six-month contract in 1939. She also met Howard Hughes, who tried unsuccessfully to seduce her, but she was from a well-to-do family and was not impressed by Hughes’ wealth.[13] He did, however, become a lifelong friend. A cameraman advised Tierney to lose a little weight, saying “a thinner face is more seductive.” Tierney then wrote to Harper’s Bazaar for a diet, which she followed for the next twenty-five years. Years later Tierney was quoted as saying, “I love to eat. For all of Hollywood’s rewards, I was hungry for most of those twenty-five years.”[14] Tierney was offered the lead role in National Velvet but production was delayed. National Velvet would be produced at MGM in 1944.[15]Columbia Pictures failed to find Tierney a project; so, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, “Tierney blazes with animation in the best performance she has yet given”. She was the toast of Broadway before her 20th birthday.[11]The Male Animal was a hit, and Tierney was featured in Life magazine. She was also p
    tographed by Harper’s Bazaar, Vogue and Collier’s Weekly.[16]Two weeks after The Male Animal opened, one evening before the curtain went up, there was a rumor that Darryl F. Zanuck, the head of 20th Century Fox had flown in from the coast and was in the audience. During the performance, he told an assistant to make a note of Tierney’s name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, “Forget the girl from the play. See if you can sign that one.” It was Tierney. Zanuck was not easily convinced that the two women were one and the same. Tierney was quoted after the fact, “I always had several different ‘looks’, a quality that proved useful in my career.”[17][18]

    Gene Tierney in the film trailer for Laura (1944).Hollywood called once again, Tierney signed with 20th Century-Fox.[19] Her motion picture debut was in a supporting role as Elenore Stone in Fritz Lang‘s western The Return of Frank James (1940), opposite Henry Fonda. A small role as Barbara Hall followed in Hudson’s Bay (1941) with Paul Muni.Also, in 1941, Tierney co-starred as Ellie Mae Lester in John Ford‘s comedy Tobacco Road, along with the title role in Belle Starr, Zia in Sundown and Victoria Charteris a.k.a. Poppy Smith in The Shanghai Gesture. The following year, she played Eve in Son of Fury: The Story of Benjamin Blake, along with the dual role as Susan Miller a.k.a. Linda Worthington in Rouben Mamoulian‘s screwball comedy film Rings on Her Fingers, Kay Saunders in Thunder Birds and Miss Young in China Girl.Top billing in Ernst Lubitsch‘s classic 1943 comedy Heaven Can Wait as Martha Strable Van Cleve signaled an upward turn in Tierney’s career, as her popularity increased. Tierney recalled during the production of Heaven Can Wait, “Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, ‘Mr. Lubitsch, I’m willing to do my best but I just can’t go on working on this picture if you’re going to keep shouting at me.’ ‘I’m paid to shout at you’, he bellowed. ‘Yes’, I said, ‘and I’m paid to take it — but not enough.’ After a tense pause, Lubitsch broke out laughing. From then on we got along famously.”[20] In 1944, she starred in what became her most famous role — the intended murder victim, Laura Hunt, in Otto Preminger‘s film noir Laura, opposite Dana Andrews. After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland, opposite Cornel Wilde, in the film version of the best-selling Ben Ames Williams novel Leave Her to Heaven, a performance that won her an Academy Award nomination for Best Actress (1945). Leave Her To Heaven was 20th Century-Fox’s most successful film of the 1940s.In 1946, Tierney starred as Miranda Wells in Joseph L. Mankiewicz‘s debut film as a director in Dragonwyck. That same year, she starred in another critically-praised performance as Isabel Bradley, opposite Tyrone Power, in The Razor’s Edge, an adaptation of W. Somerset Maugham‘s novel. She followed that with her role as Lucy Muir in Mankiewicz’s The Ghost and Mrs. Muir (1947), which many critics and film scholars have noted to be her greatest performance (besides Laura) for which she did not receive an Academy Award nomination for Best Actress.[21] The following year, Tierney co-starred once again with Power, this time as Sara Farley in the successful screwball comedy film That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool, co-starring Richard Conte and José Ferrer (1949).Tierney gave memorable performances in two other film noirs (both in 1950) — Jules Dassin‘s Night and the City and Otto Preminger’s Where the Sidewalk Ends.

    Pin-up photo in Yank, the Army Weekly.In 1951, Tierney was loaned out to Paramount Pictures and gave a memorable comic turn as Maggie Carleton in Mitchell Leisen‘s classic ensemble screwball comedy film The Mating Season with John Lund, Thelma Ritter and Miriam Hopkins.[22] This was also the year Tierney gave a tender performance as Midge Sheridan in the Warner Bros. film Close to My Heart (1951) with Ray Milland. The film is about a couple trying to adopt. Tierney felt this was her best role in a half-dozen years, as it touched the chords of her own experience. The film addressed the issue of “nature versus nurture” and opened an early conversation about the adoption process.[23] Later in her career, she would be reunited with Milland in Daughter of the Mind (1969), which has a cult following.After appearing opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM, during which she had a brief romance with Tracy.[24] Tierney then played Marya Lamarkina, opposite Clark Gable, in Never Let Me Go (1953), which was filmed in England. She found Gable patient and considerate, but lonely and vulnerable, as he was still mourning the death of Carole Lombard.[25] She remained in Europe to play Kay Barlow in United Artists‘ Personal Affair (1953), which was released that same year. While Tierney was in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father, Aga Khan III.[26][27] Early in 1953, Tierney returned to the U.S. to co-star in a film noir film as Iris Denver in Black Widow (1954) with Ginger Rogers and Van Heflin.

    Pin-up photo in World War II magazine BriefDuring 1953, Tierney’s mental health problems were becoming harder for her to hide; she dropped out of Mogambo and was replaced by Grace Kelly.[28] While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney’s long string of personal troubles finally took its toll. She said that “Bogey could tell that I was mentally unstable.” During the production, he fed Tierney her lines and encouraged her to seek help.[29] Worried about her mental health, she consulted a psychiatrist, and was admitted to Harkness Pavilion in New York. Later, she went to The Institute of Living in Hartford, Connecticu

    t. After some 27 shock treatments, Tierney attempted to flee, but was caught and returned. She became an outspoken opponent of shock treatment therapy, claiming that it had destroyed significant portions of her memory.[30]In 1957, Tierney was seen by a neighbor as she was about to jump from a ledge.[31] The police were called, and she was admitted to the Menninger Clinic in Topeka, Kansas on December 25. She was released from Menninger the following year, after a treatment that included – in its final stages – working as a sales girl in a large department store (where she was recognized by a customer, resulting in sensational newspaper headlines).[32]Later that year, 20th Century-Fox offered her a lead role in Holiday for Lovers (1957), but the stress proved too great. Days into production, she was forced to drop out of the film and was readmitted to Menninger.

    Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone.[33] A year later, she played Albertine Prine in Toys in the Attic, followed by the International production of Las cuatro noches de la luna llena (1963) with Dan Dailey. She received overall critical praise for her performances.[34] Tierney’s career turn as a solid character actress seemed to be on track. She played Jane Barton in The Pleasure Seekers (1964), then again retired.[35]Tierney came back to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980).[36]

    Tierney married twice, first to costume and fashion designer Oleg Cassini on June 1, 1941. She and Cassini had two daughters, Antoinette Daria Cassini (born October 15, 1943) and Christina “Tina” Cassini (born November 19, 1948).In June 1943, while pregnant with Daria, Tierney contracted rubella during her only appearance at the Hollywood Canteen. Daria was born prematurely in Washington, D.C., weighing only three pounds, two ounces (1.42 kg) and requiring a total blood transfusion. Because of Tierney’s illness, Daria was also deaf, partially blind with cataracts and had severe mental retardation. Tierney’s grief over the tragedy led to many years of depression and may have begun her bipolar disorder. Some time after the tragedy surrounding her daughter Daria’s birth, Tierney learned from a fan who approached her for an autograph at a tennis party that the woman (who was then a member of the women’s branch of the Marine Corps) had sneaked out of quarantine while sick with rubella to meet Tierney at her only Hollywood Canteen appearance. In her autobiography, Tierney related that after the woman had recounted her story, she just stared at her silently, then turned and walked away. She wrote, “After that I didn’t care whether ever again I was anyone’s favorite actress.” Biographers have theorized that Agatha Christie used this real-life tragedy as the basis of her plot for The Mirror Crack’d from Side to Side.[24][37][38] The incident, as well as the circumstances under which the information was imparted to the actress, is repeated almost verbatim in the story. Tierney’s tragedy had been well-publicized for years previously. During this time, Howard Hughes, an old friend, saw to it that Daria received the best medical care available, paying for all of her medical expenses. Tierney never forgot Hughes’ acts of kindness.[39]Tierney separated from Cassini, challenged by the marital stress of Daria’s condition, but they later reconciled and had a second daughter, Tina. During her separation, during the filming of Dragonwyck, she met a young John F. Kennedy, who was visiting the set. They began a romance that ended the following year, when Kennedy told her he could never marry her because of his political ambitions.[24][40] Tierney then reconciled with Cassini, but they divorced on February 28, 1952. In 1960, Tierney sent Kennedy a note of congratulations on his election victory; she later admitted that she had voted for Richard Nixon, saying, “I thought that he would make a better president.”In 1958, Tierney met Texas oil baron W. Howard Lee, who was married to Hedy Lamarr from 1953 to 1960. Tierney and Lee married in Aspen, Colorado on July 11, 1960, and lived in Houston, Texas. She loved life in Texas with Lee and became an expert contract bridge player. In 1962, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she became pregnant and dropped out of the project. She later miscarried.Tierney’s autobiography, Self-Portrait, in which she candidly discussed her life, career and mental illness, was published in 1979.On February 17, 1981, Tierney was widowed when Lee died after a long illness.[41]Gene Tierney died in 1991, shortly before her 71st birthday, of emphysema in Houston, Texas.[1] She had started smoking after a screening of her first movie to lower her voice because “I sound like an angry Minnie Mouse.” She became a heavy smoker, which contributed to her death. She is interred next to Lee in the Glenwood Cemetery in Houston, Texas.In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival Spain for their body of work.[42]For her contribution to the motion picture industry, Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard in Hollywood, California.

    Martha Strabel Van Cleve

    Year Film Role Director Other cast Notes
    1940 The Return of Frank James Eleanor Stone Fritz Lang Henry Fonda Technicolor
    Hudson’s Bay Barbra Hall Irving Pichel Paul Muni
    Vincent Price
    1941 Tobacco Road Ellie Mae Lester John Ford Charles Grapewin
    Dana Andrews
    Belle Starr Belle Starr Irving Cummings Randolph Scott
    Dana Andrews
    Sundown Zia Henry Hathaway Bruce Cabot
    The Shanghai Gesture Victoria Charteris aka
    Poppy Smith
    Josef von Sternberg Walter Huston
    1942 Son of Fury: The Story of Benjamin Blake Eve John Cromwell Tyrone Power Sepia tone
    Rings on Her Fingers Susan Miller aka
    Linda Worthington
    Rouben Mamoulian Henry Fonda
    Thunder Birds Kay Saunders William A. Wellman Preston Foster
    John Sutton
    China Girl Miss Young Henry Hathaway George Montgomery
    1943 Heaven Can Wait Ernst Lubitsch Don Ameche Technicolor
    1944 Laura Laura Hunt Otto Preminger Dana Andrews
    Clifton Webb
    Vincent Price
    1945 A Bell for Adano Tina Tomasino Henry King John Hodiak
    Leave Her to Heaven Ellen Brent Harland John M. Stahl Cornel Wilde
    Jeanne Crain
    Vincent Price
    Nominated – Academy Award for Best Actress
    1946 Dragonwyck Miranda Wells Van Ryn Joseph L. Mankiewicz Walter Huston
    Vincent Price
    The Razor’s Edge Isabel Bradley Maturin Edmund Goulding Tyrone Power
    Anne Baxter
    John Payne
    1947 The Ghost and Mrs. Muir Lucy Muir Joseph L. Mankiewicz Rex Harrison
    George Sanders
    Edna Best
    1948 The Iron Curtain Anne Gouzenko William A. Wellman Dana Andrews
    That Wonderful Urge Sara Farley Robert B. Sinclair Tyrone Power
    1949 Whirlpool Ann Sutton Otto Preminger Richard Conte
    José Ferrer
    1950 Night and the City Mary Bristol Jules Dassin Richard Widmark
    Where the Sidewalk Ends Morgan Taylor (Paine) Otto Preminger Dana Andrews
    1951 The Mating Season Maggie Carleton McNulty Mitchell Leisen John Lund
    Miriam Hopkins
    Thelma Ritter
    On the Riviera Lili Duran Walter Lang Danny Kaye Technicolor
    The Secret of Convict Lake Marcia Stoddard Michael Gordon Glenn Ford
    Close to My Heart Midge Seridan William Keighley Ray Milland
    1952 Way of a Gaucho Teresa Jacques Tourneur Rory Calhoun Technicolor
    Plymouth Adventure Dorothy Bradford Clarence Brown Spencer Tracy
    Van Johnson
    Leo Genn
    1953 Never Let Me Go Marya Lamarkina Delmer Daves Clark Gable
    Personal Affair Kay Barlow Anthony Pelissier Leo Genn
    Glynis Johns
    1954 Black Widow Iris Denver Nunnally Johnson Ginger Rogers CinemaScope
    Deluxe color
    The Egyptian Baketamon Michael Curtiz Jean Simmons
    Victor Mature
    Edmund Purdom
    Deluxe color
    1955 The Left Hand of God Anne Scott Edward Dmytryk Humphrey Bogart CinemaScope
    Deluxe color
    1962 Advise and Consent Dolly Harrison Otto Preminger Henry Fonda
    Walter Pidgeon
    Franchot Tone
    1963 Toys in the Attic Albertine Prine George Roy Hill Dean Martin
    Las cuatro noches de la luna llena
    aka Four Nights of the Full Moon
    Sobey Martin Dan Dailey
    1964 The Pleasure Seekers Jane Barton Jean Negulesco Ann-Margret CinemaScope
    Deluxe color

    Year Title Genre Role Staged by
    1938 What A Life! Original Play, Comedy Walk on, Water carrier George Abbott
    1938 The Primrose Path Original Play, Drama/Comedy Understudy George Abbott
    1939 Mrs O’ Brian Entertains Original Play, Comedy Molly O’ Day George Abbott
    1939 Ring Two Original Play, Comedy Peggy Carr George Abbott
    1940 The Male Animal Original Play, Comedy Patricia Stanley Herman Shumlin

    Year Title Role Other cast
    1947 Sir Charles Mendl Show Herself Host: Sir Charles Mendl
    1953 Toast of the Town Herself Host: Ed Sullivan Episode #6.33
    1954 The 26th Annual Academy Awards Herself Host: Donald O’Conner, Fredric March Presenter: Costume Design Awards
    1957 What’s My Line? Herself Host: John Charles Daly Episode: August 25, Mystery guest
    1960 General Electric Theater Ellen Galloway Host: Ronald Reagan Episode: “Journey to a Wedding”
    1969 The F.B.I Faye Simpson Efrem Zimbalist, Jr. Episode: “Conspiracy of Silence”
    1969 Daughter of the Mind Lenore Constable Ray Milland (Made for TV movie)
    1974 The Merv Griffin Show Herself Host: Merv Griffin
    1979 The Merv Griffin Show Herself Host: Merv Griffin
    1980 The Tonight Show Starring Johnny Carson Herself Host: Johnny Carson
    The Mike Douglas Show Herself Host: Mike Douglas
    Dinah! Herself Host: Dinah Shore
    Scruples Harriet Toppington Lindsay Wagner (TV Mini-series)
    1999 Biography Herself Host: Peter Graves “Gene Tierney: A Shattered Portrait” March 26

      “Undeniably the most beautiful woman in movie history” – Darryl F. Zanuck, former chief of production and founder of 20th Century Fox.
    • “I want to tell you, Miss Tierney, you gave me one of the most memorable evenings I ever had in the theater in your film Leave Her to Heaven. When I saw the expression on your face in the sequence in which you drowned the boy, I thought, ‘That was acting.'” – Noël Coward, actor, playwright, composer.
    • “Although she was beautiful in her films, they couldn’t quite capture all of her. Fortunately, I did, even if it was late in my life.” – Spencer Tracy, actor.
    • “This one is in Technicolor. That means that the audience will also get the force of those Tierney green eyes. Now maybe they’ll understand why scriptwriters have me go off the deep end every time I’m in the same picture as her.” – Vincent Price, actor.
    • “Gene is the luckiest, unlucky girl in the world, all of her dreams came true, at a cost.” – Oleg Cassini, first husband, fashion designer.
    • “I see no reason why Miss Tierney should not have an interesting theatrical career, that is if cinema does not kidnap her away.” – Richard Watts, Jr., New York Herald Tribune theater critic on her performance in Ring Two (1939).
    • “The woman with the Mona Lisa smile who left us haunting images of her presence on screen forever remembered as ‘the face in the misty light.'” – Neil Doyle, film historian.
    • “As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest.” – Brooks Atkinson The New York Times theater critic on her performance in Mrs. O’Brien Entertains (1938).
    • “Tierney blazes with animation in the best performance she has yet given.” – Brooks Atkinson, The New York Times theater critic on her performance in The Male Animal (1940).
    • “Gene, I really believe you have a future, and that’s because you are the only girl I know who could survive so many bad pictures.” – Joseph Schenck, a top 20th Century Fox executive.

    • “Unlike the stage, I never found it to be helpful to be good in a bad movie.”
    • “Rehearsals and screening rooms are often unreliable because they cannot provide the chemistry between an audience and what appears on the stage or screen.”
    • “I had known Cole Porter in New York and Hollywood, spent many-a-warm hour at his home and met the talented and original people who were drawn to him.”
    • “Everyone should see Hollywood once, I think, through the eyes of a teenage girl who has just passed a screen test.”
    • “I loved to eat. For all of Hollywood’s rewards, I was hungry for most of those 25 years.”
    • “Jealousy is, I think, the worst of all faults; it makes a victim of both parties.”
    • “I do not recall spending long hours in a mirror loving my reflection.”
    • “Wealth, beauty and fame are transient. When those are gone, little is left except the need to be useful.”
    • “I sound like an angry Minnie Mouse.” – Statement made after hearing her voice for the first time at a screening of The Return of Frank James.
    • “I don’t think Howard could love anything that did not have a motor in it.” – On Howard Hughes.
    • “Joe Schenck a top 20th Century-Fox executive once said to me that he really believed I had a future, and that was because I was the only girl who could survive so many bad pictures.” – Gene Tierney quoted in “The RKO Girls”

    • Tierney was ranked number 71 in Premiere Magazine‘s list of “The 100 Sexiest Movie Stars of All Time”. They said, “Tierney, a classic beauty, may at first seem too elegant to be a sex symbol, but her Oscar-nominated performance as the femme fatal in Leave Her to Heaven firmly establised her sexy cred. Plus, Tierney owned her look. She didn’t let studio executives mess with her hair color or length, and refused to fix a slight overbite, earning extra sexy points for confidence.”[43]
    • When Grauman’s Chinese Theatre resumed cement handprints and footprints after World War II ended in 1945, Tierney was the first actress asked to continue the tradition.
    • A tribute to her popularity was a famous skit referring to Tierney. Dean Martin and Jerry Lewis had a comedy routine in which Lewis (in boxing shorts and gear) states he’s fighting Gene Tierney. Martin corrects Lewis and suggests that he must mean Gene Tunney (the heavyweight boxing champion). Lewis then quips, “You fight who you wanna fight, I’m fight’n who I wanna fight; I’m fight’n Gene Tierney.”[44]
    • Contrary to some published reports, Gene’s birth name was never “Jean“. Tierney was named after a beloved uncle, who died young as told in her autobiography, Self-Portrait.[45]
    • Tierney was the heroine of a novel, Gene Tierney and the Invisible Wedding Gift, written by Kathryn Heisenfelt, published by Whitman Publishing Company in 1947. “While the heroine is identified as a famous actress, the stories are entirely fictitious.” The story was probably written for a young teenage audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as “Whitman Authorized Editions”, 16 books published between 1941-1947 that featured a film actress as heroine.[46]
    • Tierney negotiated a unique contract with a raise every six months, and she was to be given half a year off – with written notice to the studio – to appear on Broadway.[47]

  • ^ a b Severo, Richard (1991-11-08). “Gene Tierney, 70, Star of ‘Laura’ And ‘Leave Her to Heaven,’ Dies”. The New York Times. Retrieved 2007-11-21. 
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 119.
  • ^
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 9-10.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 14.
  • ^ Life magazine, February 19, 1940. Vol 8, No.8 . Debutante Gene Tierney Makes Her Entrance In A Broadway Success, page 25.
  • ^ Gene Tierney: A Shattered Portrait. The Biography Channel. March 26, 1999. Interview with Patricia Tierney.
  • ^ a b Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 19.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 18.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 21.
  • ^ a b Tierney and Herskowitz (1978). Wyden Books.
    Self-Portrait. p. 36.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 65-66.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 33.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 27.
  • ^ Tierney and Herskowitz (1978). Wyden Books.”Self -Portrait. pg. 23.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 38.
  • ^ Tierney and Herskowitz (1978). Wyden Books. “Self-Portrait” pg.38.
  • ^ Gene Tierney: A Shattered Portrait, The Biography Channel March 26, 1999. Interview with Patricia Tierney.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 23.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 91.
  • ^ Gene Tierney: A Shattered Portrait. The Biography Channel. March 26, 1999. Interview with Jeanine Basinger, Film scholar.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 141-142.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 144.
  • ^ a b c Osborne (2006). Chronicle Books. Leading Ladies. p. 195.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 150.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 157-158.
  • ^ “The Private Life and Times of Gene Tierney”
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 150-151.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. pp. 164-165.
  • ^ People Magazine
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 1.
  • ^ Tierney and Herskowitz (1979) . Wyden Books. “Self-Portrait.”pp.197
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 133.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 206.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 207.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 208.
  • ^ “Biography”. The Official Web Site of Gene Tierney ( Retrieved 2008-01-12. 
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 101.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 97.
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 131.
  • ^ “W. Howard Lee”. The New York Times. 1981-08-18. Retrieved 2007-11-21. 
  • ^ Gene Tierney: A Shattered Portrait, The Biography Channel. March 26, 1999.
  • ^ [1]
  • ^ Gene Tierney: A Shattered Portrait, The Biography Channel. March 26, 1999
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 25.
  • ^ Whitman Authorized Editions for Girls
  • ^ Tierney and Herskowitz (1978). Wyden Books. Self-Portrait. p. 26.
    • Cassini, Oleg (1987). In My Own Fashion: An Autobiography. Simon & Schuster. ISBN 0-671626-40-X. 
    • Devillers, Marceau (1987). Gene Tierney: A Biography. Pygmalion/G.Watelel. ISBN 2857042302. 
    • Merigeau, Pascal (1987). Gene Tierney: A Biography. Paris. ISBN 2856011748. 
    • Tierney, Gene with Mickey Herskowitz (1979). Self-Portrait. Peter Wyden. ISBN 0-883261-52-9. 
    • Vogel, Michelle (2005). Gene Tierney: A Biography. McFarland & Company. ISBN 0-786420-35-9.