George Petty


The Ballerina – 1965George Brown Petty IV (27 April 1894 – 21 July 1975) was an American pin-up artist. His pin-up art appeared primarily in Esquire and Fawcett Publications’s True but was also in calendars marketed by Esquire, True and Ridgid Tool Company. Petty’s Esquire gatefolds originated and popularized the magazine device of centerfold spreads. Reproductions of his work were widely rendered by military artists as nose art decorating warplanes during the Second World War, including the Memphis Belle, known as “Petty Girls”.

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George Petty was born in Abbeville, the seat of Vermilion Parish in south Louisiana to George Brown Petty III and his wife, Sarah. George, IV, was the couple’s second child; his sister Elizabeth had been born in 1891.The Petty family moved to Chicago, Illinois, just before the turn of the century, where George, III, a photographer of some note, enjoyed considerable success. One may locate his photographs of young women, madonnas, and nudes anywhere from coast to coast.Petty died in San Pedro, California.

Petty was not a particularly good student in high school spending a great deal of time on extracurricular activities instead of schoolwork. His artistic bent first became obvious in high school where he was the staff artist for the school newspaper.During his high school years, he enrolled in evening classes at Chicago Academy of Fine Arts under the tutoring of Ruth VanSickle Ford where he taught his own art course, charging classmates US$5.00 per session. He also worked in his father’s photo shop where he learned how to use an airbrush.Petty studied art at the Académie Julian with Jean-Paul Laurens and others until 1916, when World War I caused Joseph P. Herrick, ambassador at that time, to order all Americans to return home.Petty returned to Chicago, and worked as an airbrush retoucher for a local printing company. He was able to establish himself as a freelance artist, painting calendar girls and magazine covers for The Household. By 1926, he was able to open his own studio.

George Petty never discussed in detail those artists who influenced him other than J. C. Leyendecker (an artist for The Saturday Evening Post during George’s high school days) for his interpretation of men, Coles Phillips for his technique, and Maxfield Parrish for his use of light. However, it can be inferred from his later work that other influences included artists who were extremely popular in Paris at the time, such as Alfons Mucha, George Barbier and, in particular, the watercolor technique of England’s Russell Flint.

Petty is especially known for “the Petty Girl”, a series of pin-up paintings of women done for Esquire from the autumn of 1933 until 1956. Petty frequently depicted these women with the relative lengths of their legs being longer — and the relative sizes of their heads being smaller — than those of his actual models.

  • An image of a petty girl talking on a phone was used as the ‘nose art’ on the famous WWII B-17 Flying Fortress, Memphis Belle
  • An image of a petty girl was used in The Beatles‘ Sgt. Peppers Lonely Hearts Club Band album.

Reid Stewart Austin (The Best of Gil Elvgren) examined the life and art of George Petty in the 192-page Petty: The Classic Pin-Up Art of George Petty. Published by Gramercy in 1997, the lavish volume features a foreword by Hugh Hefner and an introductory essay by Petty’s daughter, Marjorie Petty, who was his main model. In The New York Times Book Review, famed designer George Lois praised this collection of Petty’s creations, commenting:Just as the cool, unapproachable Gibson Girl was the feminine ideal of young men at the turn of the century, the voluptuous Petty Girl became the ideal of their wide-eyed sons. I’m going on the record to swear that George Brown Petty IV consistently created better-designed women than God, and now I’ve got a big beautiful book to prove it.Robert Cummings portrayed George Petty in the biographical musical comedy The Petty Girl (Columbia, 1950), directed by Henry Levin and featuring the film debut of Tippi Hedren as one of the Petty Girls. Nat Perrin’s screenplay was based on a story by Mary McCarthy. The film is also notable for several lilting, lighthearted songs composed by Harold Arlen (music) and Johnny Mercer (lyrics), including “Fancy Free” and “I Loves Ya”. The large production number at the finale is “The Petty Girl” by Arlen and Mercer, performed by Joan Caulfield (dubbed by Carole Richards), the Petty Girls and a male quartet.

Linnea Quigley

Linnea Quigley Born Linnea Barbara Quigley
May 27, 1958 (1958-05-27) (age 52)
Davenport, Iowa, U.S. Other names Jesse Dalton, Jessie Dalton, Barbara Gold, Linnea, Pamela Peck, Linnéa Quigley, Linnea Rainey Occupation Actress/Producer Years active 1975–present Spouse(s) Steve Johnson (m. 1990–1992) «start: (1990)–end+1: (1993)»”Marriage: Steve Johnson to Linnea Quigley” Location: (linkback:http://en.wikipedia.org/wiki/Linnea_Quigley) Website http://www.linneaquigley.net

Linnea Barbara Quigley (born May 27, 1958) is an American scream queen, B movie actress, and film producer.

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Quigley was born in Davenport, Iowa, the daughter of Dorothy and W. Heath Quigley, a chiropractor and psychologist.[1] She moved to Los Angeles in the late 1970s to pursue her dreams of acting. She quickly established herself in the arena of independent films and appeared in almost one hundred feature films.[2]

Quigley is best known for her role in The Return of the Living Dead. She has also starred in dozens of other horror films including Nightmare Sisters, Silent Night, Deadly Night, Creepozoids, Sorority Babes in the Slimeball Bowl-O-Rama, Night of the Demons (the 1988 original and the 2010 remake), and A Nightmare on Elm Street 4: The Dream Master. Quigley is the author of two books about her career as a B-movie actress, Chainsaw and I’m Screaming as Fast as I Can. She is an special guest on the 2010 Wonderfest.[3]

Film
Year Film Role Notes
1975 Psycho from Texas Barmaid Alternative titles: Evil + Hate = Killer
The Butcher
1978 Auditions Sally Webster
Deathsport Courtesan Uncredited
1979 Summer Camp Pam Credited as Barbara Gold
1981 Don’t Go Near the Park Bondi’s Mother Alternative titles: Curse of the Living Dead
Nightstalker
Sanctuary for Evil
Graduation Day Dolores
Nice Dreams Blondie Group #2
1983 Still Smokin’ Blonde in Spa Uncredited
Get Crazy Groupie Uncredited
Alternative title: Flip Out
1984 Savage Streets Heather Alternative title: Zombie Brigade
Silent Night, Deadly Night Denise
1985 Return of the Living Dead Trash
1986 Sweethearts Cupid’s Corner Host Credited as Pamela Peck
1987 Treasure of the Moon Goddess Lu de Belle
Nightmare Sisters Melody
Creepozoids Bianca
1988 Hollywood Chainsaw Hookers Samantha Alternative title: Hollywood Hookers
Dead Heat Zombie Go-go Girl Uncredited
Sorority Babes in the Slimeball Bowl-O-Rama Spider
Vice Academy Didi
A Nightmare on Elm Street 4: The Dream Master Soul from Freddy’s Chest
Night of the Demons Suzanne
1989 Murder Weapon Dawn Producer
1990 Vice Academy Part 2 Didi
1991 The Guyver Scream Queen Alternative title: Mutronics
1992 Innocent Blood Nurse Alternative title: A French Vampire in America
1993 The Girl I Want Teri Producer
1994 Pumpkinhead II: Blood Wings Nadine Direct-to-video release
1995 Jack-O Carolyn Miller Alternative title: Jack O’Lantern
1996 Fatal Frames Wendy Williams
1997 Hollywood Cops Ryder
1998 Death Mask Angel Wilson
Boogie Boy Gretchen
Kolobos Dorothy Direct-to-DVD release
1999 Play It to the Bone Overdosed Hooker Uncredited
2000 Blind Target Serena Erwin
2001 The Monster Man Aunt Ruth Direct-to-DVD release
Kannibal Georgina Thereshkova Direct-to-DVD release
2002 Scream Queen Malicia Tombs Direct-to-DVD release
2003 Zombiegeddon Principal Russo Direct-to-DVD release
Corpses are Forever Elli Kroger Direct-to-DVD release
2004 Super Hero Central L.Q. Direct-to-DVD release
Alternative title: The Adventures of Ace X and Kid Velvet
The Rockville Slayer Mary Burns
2005 Wolfsbayne Nikki
Lost Girls Faith
2006 Hoodoo for Voodoo Queen Marie
Voices from the Graves Sara Graves
2007 Each Time I Kill Aunt Belle
2008 The Notorious Colonel Steel Tommy
2009 It Came from Trafalgar Marylin Do
e
Strangers Online Mary
2010 Dead End Alex Producer
Collapse Mrs. Bell
Post Mortem : America 2021 Lucille
The Voices from Beyond Sara Graves
2010 Night of the Demons Ballerina Woman
2011 Caesar and Otto’s Deadly XMas Catherine
Television
Year Title Role Notes
1983 Simon & Simon Bobbi 1 episode

  • ^ “Linnea Quigley Biography (1958-)”. filmreference.com. http://www.filmreference.com/film/29/Linnea-Quigley.html. Retrieved 2008-05-23. 
  • ^ Paul, Louis (2008). “Linnea Quigley”. Tales From the Cult Film Trenches; Interviews with 36 Actors from Horror, Science Fiction and Exploitation Cinema. Detroit: Wayne State University Press. pp. 186–191. ISBN 978-0-7864-2994-3. 
  • ^ Horrorwood Babbles On: WonderFest – A Classic Monster-Fan’s Beast Fiend!
  • Edward Reed (artist)

    For other people named Edward Reed, see Edward Reed (disambiguation).Edward Reed is a modern day pin-up artist. He was the editorial consultant and contributing editor for Airbrush Art + Action from 1998 to 2003. He is currently the editorial advisor and contributing editor for Art Scene International magazine. He has been creating pinup art since 1988. He is a noted authority on pinup art and has written many instructional articles on the subject of how to create pinup art for Airbrush Magazine, Airbrush Action, Art Scene International and Airbrush Art + Action. In 1997, he designed the FH-10 Freehand Pinup Shield for ARTOOL Products Company which is still sold in art supply stores today. A book on his work The Art of Edward Reed: Portraits & Pin-ups was published by SQP in spring of 2008 and a second book is being planned by SQP for 2009 and 2010.

    Shelley Winters

    Shelley Winters


    from Tennessee Champ (1954) Born Shirley Schrift
    August 18, 1920(1920-08-18)
    St. Louis, Missouri, U.S. Died January 14, 2006 (aged 85)
    Beverly Hills, California, U.S. Occupation Actress Years active 1943–2006 Spouse(s) Paul Meyer (1942-1948)
    Vittorio Gassman (1952-1954) 1 daughter
    Anthony Franciosa (1957-1960)
    Gerry DeFord (2006)

    Shelley Winters (August 18, 1920 – January 14, 2006) was an American actress who appeared in dozens of films, as well as on stage and television; her career spanned over fifty years, until her death in 2006. Two-time Academy Award winner, Winters is probably most remembered for her roles in A Place in the Sun, The Big Knife, Lolita, The Night of the Hunter, Alfie, and The Poseidon Adventure.

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    Winters was born Shirley Schrift in St. Louis, Missouri, the daughter of Jewish parents Rose (née Winter), a singer with The Muny, and Jonas Schrift, a designer of men’s clothing.[1] Her family moved to Brooklyn, New York when she was three years old. Her sister Blanche Schrift later married George Boroff, who ran The Circle Theatre (now named El Centro Theatre). She studied at The New School in New York City.

    As the New York Times obituary noted, “A major movie presence for more than five decades, Shelley Winters turned herself into a widely-respected actress who won two Oscars.” Winters originally broke into Hollywood as “the Blonde Bombshell”, but quickly tired of the role’s limitations. She washed off her makeup and played against type to set up Elizabeth Taylor‘s beauty in A Place in the Sun, still a landmark American film. As the Associated Press reported, the general public was unaware of how serious a craftswoman Winters was. “Although she was in demand as a character actress, Winters continued to study her craft. She attended Charles Laughton‘s Shakespeare classes and worked at the Actors Studio, both as student and teacher.” She studied in the Hollywood Studio Club, and in the late 40s, she shared the same apartment with another beginner, Marilyn Monroe.Her first movie was What a Woman! (1943). Working in films (in mostly bit roles) through the 1940s, Winters first achieved stardom with her breakout performance as the victim of insane actor Ronald Colman in George Cukor‘s A Double Life, in 1948. She quickly ascended in Hollywood with leading roles in The Great Gatsby (1949) and Winchester 73 (1950), opposite James Stewart. But it was her performance in A Place in the Sun (1951), a departure from the sexpot image that her studio, Universal Pictures, was building up for her at the time, that first brought Winters her acclaim, earning a nomination for the Academy Award for Best Actress.Throughout the 1950s, Winters continued in films, most notably in Charles Laughton‘s masterpiece, 1955’s Night of the Hunter, with Robert Mitchum and Lillian Gish. She also returned to the stage on various occasions during this time, including a Broadway run in A Hatful of Rain, in 1955-1956, opposite future husband Anthony Franciosa. She won an Oscar for Best Supporting Actress for The Diary of Anne Frank in 1960, and another award, in the same category, for A Patch of Blue in 1966.Notable later roles included her lauded performance as the man-hungry Charlotte in Stanley Kubrick‘s Lolita; starring opposite Michael Caine in Alfie; and as the once gorgeous, alcoholic former starlet “Fay Estabrook” whose emotional vulnerability the titular hero so cruelly exploits in Harper (both 1966); in The Poseidon Adventure (1972) as the ill-fated Belle Rosen (for which she received her final Oscar nomination); and in Next Stop, Greenwich Village (1976). She also returned to the stage during the 1960s and 1970s, most notably in Tennessee Williams‘ Night of the Iguana. Unfortunately, her prestigious work during this period tended to be undermined by her forays into camp kitsch with films like 1968’s Wild in the Streets and 1971’s Whoever Slew Auntie Roo?. Always conscious of her Jewish heritage—she had first learned her trade in the Borscht Belt—she donated her Oscar for The Diary of Anne Frank to the Anne Frank House in Amsterdam.As the Associated Press reported, “During her fifty years as a widely known personality, Winters was rarely out of the news. Her stormy marriages, her romances with famous stars, her forays into politics and feminist causes kept her name before the public. She delighted in giving provocative interviews and seemed to have an opinion on everything.”That led to a second career as a writer. Though not an overwhelming beauty, her acting, wit, and “chutzpah” gave her a love life to rival Monroe’s. In late life, she recalled her conquests in autobiographies so popular they undermined her reputation as a serious actor. She wrote of a yearly rendezvous she kept with William Holden, as well as her affairs with Sean Connery, Burt Lancaster and Marlon Brando.Winters suffered a significant weight gain later in life, frequently stating that it was a marketing tool, since there were plenty of prominent normal-weight older actresses but fewer overweight ones, and her obesity would enable her to find work more easily. In 1973, Winters even put on a short-lived Broadway musical revue entitled “The Hoofing Hollywood Heifer”, co-starring Charles Nelson Reilly and Bongo, a tap-dancing chimp. Although it closed after only eight performances, this show was applauded for its sheer campy bravado by many critics, one of whom stated that Winters was a “Whale of a talent looking for a sea of applause big enough to rest her massive girth.”Audiences born in the 1980s knew her primarily for the autobiographies and for her television work, in which she played a humorous parody of her public persona. In a recurring role in the 1990s, Winters played
    t
    he title character’s grandmother on the ABC sitcom Roseanne. Her final film roles were supporting ones – she played a restaurant owner and mother of an overweight cook in Heavy (1995) alongside Liv Tyler and Debbie Harry, John Gielgud‘s wife in The Portrait of a Lady (1996), and a bitter nursing home administrator (whose charges included Charlton Heston, Carroll O’Connor and Shirley Jones) in 1999’s Gideon.

    Winters was married four times; her husbands were:

    • Captain Mack Paul Mayer, whom she married on New Years Day, 1942; they divorced in October 1948. Mayer was unable to deal with Shelley’s “Hollywood lifestyle” and wanted a “traditional homemaker” for a wife. Winters wore his wedding ring up until her death, and kept their relationship very private[citation needed].
    • Vittorio Gassman, whom she married on April 28, 1952; they divorced on June 2, 1954. They had one child, Vittoria born February 14, 1953, a physician, who practices internal medicine at Norwalk Hospital in Norwalk, Connecticut. She was Winters’ only child.
    • Anthony Franciosa, whom she married on May 4, 1957; they divorced on November 18, 1960.
    • Gerry DeFord, on January 14, 2006, hours before her death.

    Hours before her death, Winters married long-time companion Gerry DeFord, with whom she had lived for nineteen years. Though Winters’ daughter objected to the marriage, the actress Sally Kirkland performed the wedding ceremony for the two at Winters’ deathbed. Kirkland, a minister of the Movement of Spiritual Inner Awareness, also performed non-denominational last rites for Winters.Winters also had a romance with Farley Granger that became a long-term friendship (according to her autobiography Shelley Also Known As Shirley). She starred with him in the 1951 film, Behave Yourself!, as well as in a 1957 television production of A. J. Cronin‘s novel, Beyond This Place.

    Winters died on January 14, 2006 of heart failure at the Rehabilitation Centre of Beverly Hills; she had suffered a heart attack on October 14, 2005. Her third ex-husband Anthony Franciosa died of a stroke five days later.

    Year Award Film
    1951 Best Actress in a Leading Role, nominated A Place in the Sun
    1959 Best Actress in a Supporting Role, won The Diary of Anne Frank
    1965 Best Actress in a Supporting Role, won A Patch of Blue
    1972 Best Actress in a Supporting Role, nominated The Poseidon Adventure

    She has a star on the Hollywood Walk of Fame at 1750 Vine Street, and was inducted into the St. Louis Walk of Fame in 1992.

    • There’s Something About a Soldier (1943)
    • What a Woman! (1943)
    • The Racket Man (1944)
    • Sailor’s Holiday (1944)
    • Knickerbocker Holiday (1944)
    • Cover Girl (1944)
    • She’s a Soldier Too (1944)
    • Dancing in Manhattan (1944)
    • Together Again (1944)
    • Tonight and Every Night (1945)
    • Escape in the Fog (1945)
    • A Thousand and One Nights (1945)
    • The Fighting Guardsman (1946)
    • Two Smart People (1946)
    • Susie Steps Out (1946)
    • Abie’s Irish Rose (1946)
    • Titanic, or Oh What A Big Ship (1946)
    • New Orleans (1947)
    • Living in a Big Way (1947)
    • The Gangster (1947)
    • A Double Life (1947)
    • Killer McCoy (1947)
    • Red River (1948) (uncredited)
    • Larceny (1948)
    • Cry of the City (1948)
    • Take One False Step (1949)
    • The Great Gatsby (1949)
    • Johnny Stool Pigeon (1949)
    • Winchester ’73 (1950)
    • South Sea Sinner (1950)
    • Frenchie (1950)
    • He Ran All the Way (1951)
    • A Place in the Sun (1951)
    • Behave Yourself! (1951)
    • The Raging Tide (1951)
    • Meet Danny Wilson (1952)
    • Phone Call from a Stranger (1952)
    • Untamed Frontier (1952)
    • My Man and I (1952)
    • Tennessee Champ (1954)
    • Saskatchewan (1954)
    • Playgirl (1954)
    • Executive Suite (1954)
    • Mambo (1954)
    • Cash on Delivery (1954)
    • I Am a Camera (1955)
    • The Big Knife (1955)
    • The Night of the Hunter (1955)
    • The Treasure of Pancho Villa (1955)
    • I Died a Thousand Times (1955)
    • The Diary of Anne Frank (1959)
    • Odds Against Tomorrow (1959)
    • Let No Man Write My Epitaph (1960)
    • The Young Savages (1961)
    • Lolita (1962)
    • The Chapman Report (1962)
    • The Balcony (1963)
    • Wives and Lovers (1963)
    • Time of Indifference (1964)
    • A House Is Not a Home (1964)
    • The Greatest Story Ever Told (1965)
    • A Patch of Blue (1965)
    • The Three Sisters (1966)
    • Harper (1966)
    • Alfie (1966)
    • Enter Laughing (1967)
    • The Scalphunters (1968)
    • Wild in the Streets (1968)
    • Buona Sera, Mrs. Campbell (1968)
    • The Mad Room (1969)
    • Arthur! Arthur! (1969)
    • Bloody Mama (1970)
    • How Do I Love Thee? (1970)
    • Flap (1970)
    • What’s the Matter with Helen? (1971)
    • Whoever Slew Auntie Roo? (1971)
    • Something to Hide (1972)
    • The Poseidon Adventure (1972)
    • Blume in Love (1973)
    • Cleopatra Jones (1973)
    • Poor Pretty Eddy (1975)
    • Journey into Fear (1975)
    • Diamonds (1975)
    • That Lucky Touch (1975)
    • The Scarlet Dahlia (1976)
    • Next Stop, Greenwich Village (1976)
    • The Tenant (1976)
    • Mimì Bluette… Flower of My Garden (1977)
    • Black Journal (1977)
    • Tentacles (1977)
    • A Very Little Man (1977)
    • Pete’s Dragon (1977)
    • King of the Gypsies (1978)
    • The Visitor (1979)
    • City on Fire (1979)
    • The Magician of Lublin (1979)
    • S.O.B. (1981)
    • Looping (1981)
    • Fanny Hill (1983)
    • Ellie (1984)
    • Over the Brooklyn Bridge (1984)
    • Déjà Vu (1985)
    • Witchfire (1986)
    • Very Close Quarters (1986)
    • The Delta Force (1986)
    • Purple People Eater (1988)
    • An Unremarkable Life (1989)
    • Superstar: The Life and Times of Andy Warhol (1990) (documentary)
    • Touch of a Stranger (1990)
    • Stepping Out (1991)
    • The Pickle (1993)
    • A Century of Cinema (1994) (documentary)
    • The Silence of the Hams (1994)
    • Heavy (1995)
    • Backfire! (1995)
    • Jury Duty (1995)
    • Mrs. Munck (1995)
    • Raging Angels (1995)
    • The Portrait of a Lady (1996)
    • Gideon (1999)
    • La Bomba (1999)
    • A-List (2006)

    • Of V We Sing (Between 1939-1941) (Off-Broadway)
    • The Time of Your Life (Between 1939-1941) (understudy for Judy Haydon) (Broadway)
    • Meet The People (1939?)(U.S. Touring Company)
    • The Night Before Christmas (1941) (Broadway)
    • Rosalinda (1942) (Broadway)
    • Conquered in April (Between 1942-1946) (Broadway)
    • Oklahoma! (replacement for Celeste Holm 1947) (Broadway)
    • A Hatful of Rain (1955) (Broadway)
    • Girls of Summer (1956) (Broadway and Summer Stock)
    • Invitation to March (1960) (Boston)
    • The Night of the Iguana (1962) (replacement for Bette Davis) (Broadway)
    • Under the Weather (1966) (Broadway)
    • LUV (1967) (Broadway)
    • One Night Stands of a Noisy Passenger (1970) (Writer) (Off-Broadway)
    • Minnie’s Boys (1970) (Broadway)
    • The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1973-74) (Broadway)
    • Cages(1974) (Philadelphia, PA)
    • Kennedy’s Children (1976) (Chicago)
    • The Gingerbread Lady (1981) (Chicago)
    • Natural Affection (unknown)

    Summer Stock Plays

    • The Taming of the Shrew (1947)
    • Born Yesterday (1950)
    • Wedding Breakfast (1955)
    • A Piece of Blue Sky (1959)
    • Two for the Seasaw (1960)
    • The Country Girl (1961)
    • A View from the Bridge (1961)
    • Days of the Dancing (1964)
    • Who’s Afraid of Virginia Woolf? (1965)

    • What’s My Line (1954)
    • Wagon Train Series 1 Episode 4 – The Ruth Owens Story (1957)[2]
    • Beyond This Place (1957)
    • Wipe-Out (1963)
    • Batman (1967)
    • Here’s Lucy (1968)
    • A Death of Innocence (1971)
    • Adventures of Nick Carter (1972)
    • The Devil’s Daughter (1973)
    • Big Rose: Double Trouble (1974)
    • The Sex Symbol (1974)
    • Frosty’s Winter Wonderland (1976) (voice)
    • Kojak (1976)
    • The Initiation of Sarah (1978)
    • Elvis (1979)
    • Rudolph and Frosty’s Christmas in July (1979) (voice)
    • The French Atlantic Affair (1979) (miniseries)
    • Emma and Grandpa on the Farm (1983) (narrator)
    • Alice in Wonderland (1985)
    • Weep No More, My Lady (1992)
    • Roseanne (1991, 1993, 1995, 1996, 1997)

    • Winters, Shelley (1980). Shelley: Also known as Shirley. Morrow. ISBN 978-0688036386. 
    • Winters, Shelley (1989). Shelley II: The Middle of My Century. Simon & Schuster. ISBN 0-671-44210-4. 

  • ^ Harmetz, Aljean (January 15, 2006). “Shelley Winters, Tough-Talking Oscar Winner in ‘Anne Frank’ and ‘Patch of Blue,’ Dies”. The New York Times. http://www.nytimes.com/2006/01/15/nyregion/15winters.html. Retrieved May 23, 2010. 
  • ^ “Wagon Train” at IMDb
  • Monique Gabrielle

    Monique Gabrielle Born Katherine Gonzalez
    July 30, 1963 (1963-07-30) (age 47)
    Kansas City, Missouri Other names Luana Chass Spouse(s) Tony Angove

    Monique Gabrielle (born July 30, 1963) is an American model and actress.Gabrielle was the Penthouse Pet of the Month for December 1982 and appeared in Bachelor Party in 1984. Since then, she has had a career as a B-movie actress. Many of Gabrielle’s films have had overtly erotic overtones. Although she was in the 1982 adult film Bad Girls IV (credited as Luana Chass), she did not play an explicit part. She did, however, in the 1990s-era Ravished.She spoofed her adult career in Amazon Women on the Moon as a “Pethouse Plaything” who does everything nude, including going to art museums and church. Since 2003, Gabrielle has been married to Tony Angove.

    Jane Greer

    For the poet, see Jane Greer (poet).

    Jane Greer


    Greer in Out of the Past (1947) Born Bettejane Greer
    September 9, 1924(1924-09-09)
    Washington, D.C.,
    United States Died August 24, 2001 (aged 76)
    Los Angeles, California,
    United States Occupation Film, television actress Years active 1945–1996 Spouse(s) Rudy Vallee (1943-1944) divorced
    Edward Lasker (1947-1963) divorced Partner Frank London (1963-2001) his death

    Jane Greer (September 9, 1924 – August 24, 2001) was a film and television actress who was perhaps best known for her role as femme fatale Kathie Moffat in the 1947 film noir Out of the Past.

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    The five-foot five Greer began life as Bettejane Greer in Washington, D.C. In 1940, aged 15, Greer suffered from a facial palsy, which paralyzed the left side of her face. She recovered, but it is speculated that the condition contributed to her “patented look” and “a calm, quizzical gaze and an enigmatic expression that would later lead RKO to promote her as ‘the woman with the Mona Lisa smile’.”[1] She claimed that the facial exercises used to overcome the paralysis taught her how to convey human emotion.[2] A beauty-contest winner and professional model from her teens, Greer began her show business career as a big band singer.


    With Robert Mitchum, in Out of the PastHoward Hughes spotted Greer modeling on the cover of Life magazine of June 8, 1942 and sent her to Hollywood to become an actress. She married Rudy Vallee, her senior by 22 years, in 1943. Hughes lent out the actress to RKO to star in many films, including Dick Tracy (1945), Out of the Past (1947), They Won’t Believe Me (1947), and the comedy/suspense film The Big Steal (1949), alongside Out of the Past co-star Robert Mitchum. Hughes refused to let her work for a time; when she finally began film acting again, she appeared in You’re in the Navy Now (1951), The Prisoner of Zenda (1952), Run for the Sun (1956), and The Man of a Thousand Faces (1957). In 1984, she was cast in Against All Odds, a remake of Out of the Past, as the mother of the character she had played in 1947.Noteworthy roles in television included guest appearances on episodes of numerous shows over the decades, such as Alfred Hitchcock Presents, Bonanza, Quincy, M.E., Murder, She Wrote, and a 1975 gig with Peter Falk and Robert Vaughn in an episode of Columbo titled Troubled Waters. She even got to make fun of Out of the Past in a parody with Robert Mitchum on TV’s Saturday Night Live in 1987. Greer joined the casts of Falcon Crest in 1984, and Twin Peaks in 1990, in recurring roles.

    Jane Greer married Rudy Vallee in 1943, but they divorced the following year. She remarried in 1947, to Edward Lasker (1912-1997), a Los Angeles lawyer and businessman, with whom she had three children. Her son Lawrence Lasker is a movie producer who has co-produced several films, including WarGames (1983) and Sneakers (1992).Edward Lasker had been an owner/breeder of thoroughbred racehorses since 1929, and Greer also became an owner of race horses under her own name. Among her graded stakes race wins were the 1966 Withers and Jim Dandy Stakes and the 1967 Fall Highweight Handicap with the colt Indulto.Greer died of cancer at the age of 76 in 2001 and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles.

    • Pan-Americana (1945) (uncredited)
    • Two O’Clock Courage (1945) (as Bettejane Greer)
    • George White’s Scandals (1945) (as Bettejane Greer)
    • Dick Tracy (1945)
    • The Falcon’s Alibi (1946)
    • Sunset Pass (1946)
    • Bamboo Blonde (1946)
    • Sinbad the Sailor (1947)
    • They Won’t Believe Me (1947)
    • Out of the Past (1947)
    • Station West (1948)
    • The Big Steal (1949)
    • The Company She Keeps (1951)
    • You’re in the Navy Now (1951)
    • Down Among the Sheltering Palms (1952)
    • You for Me (1952)
    • The Prisoner of Zenda (1952)
    • Desperate Search (1952)
    • The Clown (1953)
    • Run for the Sun (1956)
    • Man of a Thousand Faces (1957)
    • Where Love Has Gone (1964)
    • Billie (1965)
    • The Outfit (1973)
    • Columbo: Troubled Waters (1975) (TV)
    • The Shadow Riders (1982) (TV)
    • Against All Odds (1984)
    • Just Between Friends (1986)
    • Immediate Family (1989)
    • Perfect Mate (1996)

  • ^ “Jane Greer Biography”. Yahoo! Movies. http://movies.yahoo.com/movie/contributor/1800014112/bio
  • ^ “Jane Greer Biography”. hollywoodupclose.com. http://www.hollywoodupclose.com/movie_stars/celebrity-biography-Jane+Greer
  • Lauren Bacall

    “Bacall” redirects here. For other uses, see Bacall (disambiguation).

    Lauren Bacall


    The cover of Yank, The Army Weekly (1944) Born Betty Joan Perske
    September 16, 1924 (1924-09-16) (age 86)
    New York City, New York, United States Occupation Actress Years active 1942–present Spouse Humphrey Bogart (m. 1945–1957) «start: (1945)–end+1: (1958)»”Marriage: Humphrey Bogart to Lauren Bacall” Location: (linkback:http://en.wikipedia.org/wiki/Lauren_Bacall) (his death) 2 children
    Jason Robards (m. 1961–1969) «start: (1961)–end+1: (1970)»”Marriage: Jason Robards to Lauren Bacall” Location: (linkback:http://en.wikipedia.org/wiki/Lauren_Bacall) (divorced) 1 son

    Lauren Bacall (born Betty Joan Perske September 16, 1924) is an American film and stage actress and model, known for her husky voice and sultry looks.She first emerged as leading lady in the film noir genre, including appearances in The Big Sleep (1946) and Dark Passage (1947), as well as a comedian in How to Marry a Millionaire (1953) and Designing Woman (1957). Bacall has also worked in the Broadway musical, gaining Tony Awards for Applause in 1970 and Woman of the Year in 1981. Her performance in the movie The Mirror Has Two Faces (1996) earned her a Golden Globe Award and an Academy Award nomination.In 1999, Bacall was ranked as one of the 25 actresses on the AFI’s 100 Years… 100 Stars list by the American Film Institute. In 2009, she was selected by the Academy of Motion Picture Arts and Sciences to receive an Academy Honorary Award at the inaugural Governors Awards.

    Contents

    Born in New York City, Bacall was the only child of Natalie Weinstein-Bacal, a secretary who later legally changed her surname to Bacall, and William Perske, who worked in sales.[1] Her parents were Jewish immigrants, their families having come from Poland, Romania and Germany.[2][3] She is first cousin to Shimon Peres, current President and former Prime Minister of Israel.[4][5] Her parents divorced when she was five, and she took her mother’s last name, Bacall.[6] Bacall no longer saw her father and formed a close bond with her mother, whom she took with her to California when she became a movie star.


    Bacall and Howard Hawks, 1943Bacall took lessons at the American Academy of Dramatic Arts. During this time, she became a theatre usher and worked as a fashion model. As Betty Bacall, she made her acting debut, at age 17, on Broadway in 1942, as a walk-on in Johnny 2 X 4. According to her autobiography, she met her idol Bette Davis at Davis’ hotel. Years later, Davis visited Bacall backstage to congratulate her on her performance in Applause, a musical based on Davis’ turn in All About Eve.Bacall became a part-time fashion model. Howard Hawks‘s wife Nancy spotted her on the March 1943 cover of Harper’s Bazaar and urged Hawks to have her take a screen test for To Have and Have Not. Hawks invited her to Hollywood for the audition. He signed her up to a seven-year personal contract, brought her to Hollywood, gave her $100 a week, and began to manage her career. Hawks changed her name to Lauren Bacall. Nancy Hawks took Bacall under her wing.[7] She dressed the newcomer stylishly, and guided her in matters of elegance, manners, and taste. Bacall’s voice was trained to be lower, more masculine, and sexier, which resulted in one of the most distinctive voices in Hollywood.[8] In the movie, Bacall takes on Nancy’s nickname “Slim”.


    Bacall in her first film, To Have and Have Not. Hoagy Carmichael is in the background playing piano.During screen tests for To Have and Have Not (1944), Bacall was nervous. To minimize her quivering, she pressed her chin against her chest and to face the camera, tilted her eyes upward. This effect became known as “The Look”, Bacall’s trademark.[9]On the set, Humphrey Bogart, who was married to Mayo Methot, initiated a relationship with Bacall some weeks into shooting and they began seeing each other.


    Lauren Bacall sits atop the piano while Vice President Harry S. Truman plays the piano at the National Press Club Canteen.On a visit to the National Press Club in Washington, D.C. on February 10, 1945, Bacall’s press agent, chief of publicity at Warner Bros. Charlie Enfield, asked the 20-year-old Bacall to sit on the piano which was being played by Vice-President of the United States Harry S. Truman. The photos caused controversy and made worldwide headlines.After To Have and Have Not, Bacall was seen opposite Charles Boyer in the critically-panned Confidential Agent (1945).[10] Bacall would state in her autobiography that her career never fully recovered from this film, and that studio boss Jack Warner did not care about quality. She then appeared with Bogart in the film noir The Big Sleep (1946), the thriller Dark Passage (1947), and John Huston‘s melodramatic suspense film Key Largo (1948). She was cast with Gary Cooper in the adventure tale Bright Leaf (1950).

    Bacall turned down scripts she did not find interesting and thereby earned a reputation for being difficult. Yet, for her leads in a string of films, she received favorable reviews. In Young Man with a Horn (1950), co-starring Doris Day and Kirk Douglas, Bacall played a two-faced femme fatale, with more than a hint of lesbianism to her character.[citation needed] This movie is often considered the first big-budget jazz film.[11]


    Monroe, Grable, BacallBacall starred in the CinemaScope comedy How to Marry a Millionaire (1953), a runaway hit that saw her teaming up with Marilyn Monroe and Betty Grable.[12] Bacall got positive notices for her turn as the witty gold-digger, Schatze Page.[13] At one point in the film, when discussing marriage to an older man, she has the (self-referential) line, “Look at that old fella, what’s-his-name, in The African Queen.” According to her autobiography, Bacall refused to press her hand- and footprints in the cemented forecourt of Grauman’s Chinese Theatre at the Los Angeles premiere of the film.Written on the Wind, directed by Douglas Sirk in 1956, is now considered a classic tear-jerker.[14] Appearing with Rock Hudson, Dorothy Malone and Robert Stack, Bacall played a determined woman. Bacall states in her autobiography that she did not think much of the role. While struggling at home with Bogart’s severe illness (cancer of the esophagus), Bacall starred with Gregory Peck in the slapstick comedy Designing Woman and gained rave reviews.[15] It was directed by Vincente Minnelli and released in New York City on May 16, 1957, four months after Bogart succumbed to cancer on January 14.

    Bacall’s movie career waned in the 1960s, and she was only seen in a handful of films. But on Broadway she starred in Goodbye, Charlie (1959), Cactus Flower (1965), Applause (1970) and Woman of the Year (1981). She won Tony Awards for her performances in the latter two. The few movies Bacall shot during this period were all-star vehicles such as Sex and the Single Girl (1964) with Henry Fonda, Tony Curtis and Natalie Wood, Harper (1966) with Paul Newman, Shelley Winters, Julie Harris, Robert Wagner and Janet Leigh, and Murder on the Orient Express (1974), with Ingrid Bergman, Albert Finney and Sean Connery. In 1964, she appeared in two acclaimed episodes of Craig Stevens‘s CBS drama, Mr. Broadway: first in “Take a Walk Through a Cemetery”, with then husband Jason Robards, Jr., and Jill St. John, and then as Barbara Lake in “Something to Sing About”, with Martin Balsam as Nate Bannerman.For her work in the Chicago theatre, Bacall won the Sarah Siddons Award in 1972 and again in 1984. In 1976, she co-starred with John Wayne in his last picture, The Shootist. The two became friends, despite significant political differences between them. They had previously been cast together in 1955’s Blood Alley.

    During the 1980s, Bacall appeared in the poorly-received star vehicle The Fan (1981), as well as some star-studded features such as Robert Altman‘s Health (1980) and Michael Winner‘s Appointment with Death (1988). In 1997, Bacall was nominated for a Best Supporting Actress Academy Award for her role in The Mirror Has Two Faces (1996), her first nomination after a career span of more than fifty years. She had already won a Golden Globe and was widely expected to win the Oscar, which went to Juliette Binoche for The English Patient.Bacall received the Kennedy Center Honors in 1997. In 1999, she was voted one of the 25 most significant female movie stars in history by the American Film Institute. Since then, her movie career has seen a new renaissance and she has attracted respectful notices for her performances in high-profile projects such as Dogville (2003) and Birth (2004), both with Nicole Kidman. She is one of the leading actors in Paul Schrader’s 2007 movie The Walker.In March 2006, Bacall was seen at the 78th Annual Academy Awards introducing a film montage dedicated to film noir. She also made a cameo appearance as herself on The Sopranos, in the April 2006 episode, “Kaisha“, during which she was punched and robbed by a masked Christopher Moltisanti.In September 2006, Bacall was awarded the first Katharine Hepburn Medal, which recognizes “women whose lives, work and contributions embody the intelligence, drive and independence of the four-time-Oscar-winning actress”, by Bryn Mawr College‘s Katharine Houghton Hepburn Center.[16] She gave an address at the memorial service of Arthur M. Schlesinger, Jr at the Reform Club in London in June 2007.Bacall is the spokesperson for the Tuesday Morning discount chain. Commercials show her in a limousine waiting for the store to open at the beginning of one of their sales events. She is currently producing a jewelry line with the company, Weinman Brothers.Bacall was selected by the Academy of Motion Picture Arts and Sciences to receive an Honorary Academy Award. The award was presented at the inaugural Governors Awards on November 14, 2009.[17]


    Lauren Bacall (1989).On May 21, 1945, Bacall married Humphrey Bogart. Their wedding and honeymoon took place at Malabar Farm, Lucas, Ohio. It was the country home of Pulitzer Prize-winning author Louis Bromfield, a close friend of Bogart. The wedding was held in the Big House. Bacall was 20 and Bogart was 45. They remained married until Bogart’s death from cancer in 1957. Bogart usually called Bacall “Baby,” even when referring to her in conversations with other people. During the filming of The African Queen (1951), Bacall and Bogart became friends of Bogart’s co-star Katharine Hepburn and her partner Spencer Tracy. Bacall also began to mix in non-acting circles, becoming friends with the h

    istorian Arthur Schlesinger, Jr. and the journalist Alistair Cooke. In 1952, she gave campaign speeches for Democratic Presidential contender Adlai Stevenson. Along with other Hollywood figures, Bacall was a staunch opponent of McCarthyism.Shortly after Bogart’s death in 1957, Bacall had a relationship with singer and actor Frank Sinatra. She told Robert Osborne, of Turner Classic Movies (TCM), in an interview that she had ended the romance. However, in her autobiography, she wrote that Sinatra abruptly ended the relationship, having become angry that the story of his proposal to Bacall had reached the press. Bacall and her friend Swifty Lazar had run into the gossip columnist Louella Parsons, to whom Lazar had spilled the beans. Sinatra then cut Bacall off and went to Las Vegas.Bacall was married to actor Jason Robards from 1961 to 1969. According to Bacall’s autobiography, she divorced Robards mainly because of his alcoholism. In her autobiography Now, she recalls having a relationship with Len Cariou, her co-star in Applause.Bacall had two children with Bogart and one child with Robards. Her children with Bogart are her son Stephen Humphrey Bogart (born 6 January 1949), a news producer, documentary film maker, and author; and her daughter Leslie Bogart (born 23 August 1952), a yoga instructor. Sam Robards (born 16 December 1961), her son with Robards, is an actor.Bacall has written two autobiographies, Lauren Bacall By Myself (1978) and Now (1994). In 2005, the first volume was updated with an extra chapter: “By Myself and Then Some”.

    Bacall is a staunch liberal Democrat. She has proclaimed her political views on numerous occasions.She appeared alongside Humphrey Bogart in a photograph printed at the end of an article he wrote, titled “I’m No Communist”, in the May 1948 edition of Photoplay magazine,[18] written to counteract negative publicity resulting from his appearance before the House Un-American Activities Committee. Bogart and Bacall specifically distanced themselves from the Hollywood Ten and were quoted as saying: “We’re about as much in favor of Communism as J. Edgar Hoover.” In October 1947, Bacall and Bogart traveled to Washington, DC along with other Hollywood stars, in a group that called itself the Committee for the First Amendment.She campaigned for Democratic candidate Adlai Stevenson in the 1952 Presidential election and for Robert Kennedy in his 1964 run for Senate.In a 2005 interview with Larry King, Bacall described herself as “anti-Republican… A liberal. The L word.” She went on to say that “being a liberal is the best thing on earth you can be. You are welcoming to everyone when you’re a liberal. You do not have a small mind.”[19]

    • In 1980, Kathryn Harrold played Bacall in the TV movie Bogie, that was directed by Vincent Sherman and was based on the novel by Joe Hymans. Kevin O’Connor played Bogart, and the movie focused primarily upon the disintegration of Bogart’s third marriage to Mayo Methot, played by Ann Wedgeworth, when Bogart met Bacall and began an affair with her.

    • Bacall is referenced in the song, “Car Jamming”, by 70’s punk band The Clash.

    List of feature film credits

    Year Title Role Notes
    1944 To Have and Have Not Marie ‘Slim’ Browning
    1945 Confidential Agent Rose Cullen
    1946 Big Sleep, TheThe Big Sleep Vivian Sternwood Rutledge
    1946 Two Guys from Milwaukee Herself uncredited cameo
    1947 Dark Passage Irene Jansen
    1948 Key Largo Nora Temple
    1950 Young Man with a Horn Amy North
    1950 Bright Leaf Sonia Kovac
    1953 How to Marry a Millionaire Schatze Page
    1954 Woman’s World Elizabeth Burns
    1955 Cobweb, TheThe Cobweb Meg Faversen Rinehart
    1955 Blood Alley Cathy Grainger
    1956 Patterns Lobby lady near elevators uncredited
    1956 Written on the Wind Lucy Moore Hadley
    1957 Designing Woman Marilla Brown Hagen Golden Laurel Award for Top Female Comedy Performance (third place)
    1958 Gift of Love, TheThe Gift of Love Julie Beck
    1959 North West Frontier Catherine Wyatt
    1964 Shock Treatment Dr. Edwina Beighley
    1964 Sex and the Single Girl Sylvia Broderick
    1966 Harper Elaine Sampson
    1973 Applause Margo Channing
    1974 Murder on the Orient Express Mrs. Harriet Belinda Hubbard
    1976 Shootist, TheThe Shootist Bond Rogers Nominated—BAFTA Award for Best Actress in a Leading Role
    1978 Perfect Gentleman Mrs. Lizzie Martin
    1980 Health Esther Brill
    1981 Fan, TheThe Fan Sally Ross
    1988 Appointment with Death Lady Westholme
    1988 Mr. North Mrs. Cranston
    1989 John Huston: The Man, the Movies, the Maverick documentary
    1989 Tree of Hands, TheThe Tree of Hands Marsha Archdale
    1989 Dinner at Eight Carlotta Vance
    1990 Misery Marcia Sindell
    1991 A Star for Two
    1991 All I Want for Christmas Lillian Brooks
    1993 Portrait, TheThe Portrait Fanny Church
    1993 Parallax Garden, TheThe Parallax Garden
    1993 Foreign Field, AA Foreign Field Lisa
    1994 Prêt-à-Porter: Ready to Wear Slim Chrysler National Board of Review Award for Best Cast
    1995 From the Mixed-Up Files of Mrs. Basil E. Frankweiler Mrs. Basil E. Frankweiler
    1996 Mirror Has Two Faces, TheThe Mirror Has Two Faces Hannah Morgan Golden Globe Award for Best Supporting Actress – Motion Picture
    San Diego Film Critics Society Award for Best Supporting Actress
    Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role
    Nominated—Academy Award for Best Supporting Actress
    Nominated—BAFTA Award for Best Actress in a Supporting Role
    Nominated—Satellite Award for Best Supporting Actress – Motion Picture
    1996 My Fellow Americans Margaret Kramer
    1997 Day
    and Night
    Sonia
    1999 Get Bruce documentary
    1999 Too Rich: The Secret Life of Doris Duke Doris Duke (elderly)
    1999 Madeline: Lost in Paris Madame Lacroque voice
    1999 Venice Project, TheThe Venice Project Countess Camilla Volta
    1999 Presence of Mind Mado Remei
    1999 Diamonds Sin-Dee
    1999 Conversation with Gregory Peck, AA Conversation with Gregory Peck documentary
    2003 Limit, TheThe Limit (aka. Gone Dark) May Markham
    2003 Dogville Ma Ginger
    2004 Howl’s Moving Castle Witch of the Waste voice
    2004 Birth Eleanor
    2005 Manderlay Mam
    2006 These Foolish Things Dame Lydia
    2007 Walker, TheThe Walker Natalie Van Miter
    2008 Eve Grandma
    2008 Scooby-Doo and the Goblin King The Grand Witch voice
    2009 Wide Blue Yonder May post-production
    2010 Firedog Posche voice
    2010 Carmel filming

    • 1955 Motion Picture Theatre Celebration (1955)
    • Amália Traída (Amália Betrayed) (2004)

    • January Two by Four (1942)
    • Goodbye Charlie (1959)
    • Cactus Flower (1965)
    • Applause (1970)
    • V.I.P. Night on Broadway (1979) (benefit concert)
    • Woman of the Year (1981)
    • Angela Lansbury: A Celebration (1996) (benefit concert)
    • Waiting in the Wings (1999)

    • What’s My Line (1953)
    • The Petrified Forest on Producers’ Showcase (1956)
    • Ford Star Jubilee (1956, 1 episode)
    • Applause (1973)
    • Perfect Gentlemen (1978)
    • Lions, Tigers, Monkeys and Dogs (Rockford Files) (1979)
    • Dinner at Eight (1989)
    • A Little Piece of Sunshine (1990)
    • The Portrait (1993)
    • The Parallax Garden (1993)
    • It’s All in the Game (Columbo) (1993)
    • From the Mixed-Up Files of Mrs. Basil E. Frankweiler (1995)
    • 6th PBS ident (1996) as announcer
    • 7th PBS ident (1998) as announcer; older woman in red shirt
    • Too Rich: The Secret Life of Doris Duke (1999)
    • The Sopranos (2006)
    • Wonder Pets (2009) special guest voice [20]

    • By Myself (1978)
    • Now (1994)
    • By Myself and Then Some (2005)

    • 1970 Tony Award for Best Leading Actress in a Musical – Applause
    • 1972 Sarah Siddons Award
    • 1980 National Book Award for Best Non-Fiction Book – By Myself
    • 1981 Tony Award for Best Leading Actress in a Musical – Woman of the Year
    • 1984 Sarah Siddons Award
    • 1992 Premio Donostia [Honorary Award]
    • 1993 Golden Globe Cecil B. DeMille Award
    • 1997 Screen Actors Guild Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
    • 1997 Golden Globe Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
    • 1997 Kennedy Center Honors
    • 2000 Stockholm Film Festival Lifetime Achievement Award
    • 2007 Norwegian International Film Festival Lifetime Achievement Award
    • 2008 Bette Davis Medal of Honor (from the Bette Davis Foundation)[21]
    • 2009 Academy Honorary Award

    Nominations

    • 1977 BAFTA Award for Best Actress in a Leading Role – The Shootist
    • 1997 BAFTA Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
    • 1997 Academy Award for Best Actress in a Supporting Role – The Mirror Has Two Faces

    Bacall has a star on the Hollywood Walk of Fame at 1724 Vine Street.

    • Humphrey Bogart: the Bogart and Bacall section
    • Bogart-Bacall syndrome

  • ^ Lauren Bacall Biography
  • ^ “The Religious Affiliation of Lauren Bacall: great American actress”. Adherents.com. 2005-07-30. http://www.adherents.com/people/pb/Lauren_Bacall.html. Retrieved 2006-12-13. 
  • ^ BBC NEWS | Entertainment | Lauren Bacall turns 80.
  • ^ Lazaroff, Tovah (2005-11-10). “Peres: Not such a bad record after all”. Jerusalem Post. http://www.jpost.com/servlet/Satellite?pagename=JPost%2FJPArticle%2FShowFull&cid=1131367066952. Retrieved 2009-05-13. 
  • ^ Weiner, Eric (2007-06-13). “Shimon Peres Wears Hats of Peacemaker, Schemer”. National Public Radio. http://www.npr.org/templates/story/story.php?storyId=11020066. Retrieved 2009-05-13. 
  • ^ Meyers 1997, p. 164.
  • ^ Sperber and Lax 1997, p. 246.
  • ^ Sperber and Lax 1997, p. 245.
  • ^ The Official Website of Lauren Bacall – “The Look”.
  • ^ External reviews: Confidential Agent (1945). – IMDb.
  • ^ Trivia: Young Man with a Horn (1950). – IMDB.
  • ^ Box office – Business: How to Marry a Millionaire (1953). – IMDb.
  • ^ Movie Reviews: How to Marry a Mi

    llionaire. – Rotten Tomatoes.

  • ^ Written on the Wind (1956) – Filmsite.org.
  • ^ Designing Woman @ Rotten Tomatoes.com.
  • ^ Bryn Mawr College – Katharine Houghton Hepburn Center.
  • ^ “Bacall, Calley, Corman and Willis to Receive Academy’s Governors Awards”. Press release – Academy of Motion Pictures Arts and Sciences. September 10, 2009.
  • ^ Humphrey Bogart: “I’m no communist,” Photoplay, March 1948.
  • ^ Interview with Lauren Bacall.
  • ^ Mitovich, Matt (April 24, 2009). “Wonder Pets Returns with One of Kitt’s Final Performances”. tvguide.com. http://www.tvguide.com/news/wonder-pets-kitt-1005433.aspx. Retrieved November 5, 2009. 
  • ^ Mark Shanahan & Paysha Rhone (2008-09-19). “Bringing together big-screen royalty”. Boston Globe. http://www.boston.com/ae/celebrity/articles/2008/09/19/bringing_together_big_screen_royalty/. Retrieved 2008-09-19. 
  • Joan Crawford

    For other people named Joan Crawford, see Joan Crawford (disambiguation).

    Joan Crawford

    Studio publicity shot of a glamorous blonde Crawford, holding a cigarette.
    Crawford photographed in 1948 Born Lucille Fay LeSueur
    March 23, 1905(1905-03-23)
    San Antonio, Texas, U.S. Died May 10, 1977 (aged 72)
    New York City, New York, U.S. Occupation Actress Years active 1925–1972 Spouse Douglas Fairbanks, Jr (1929–1933)
    Franchot Tone (1935–1939)
    Phillip Terry (1942–1946)
    Alfred Steele (1955–1959)

    Joan Crawford (March 23, 1905 – May 10, 1977),[1][2] born Lucille Fay LeSueur, was an American actress in film, television and theatre.[3] Starting as a dancer in traveling theatrical companies before debuting on Broadway, Crawford was signed to a motion picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her parts, Crawford began a campaign of self-publicity and became nationally known as a flapper by the end of the 1920s. In the 1930s, Crawford’s fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking young women who find romance and financial success. These “rags-to-riches” stories were well-received by Depression-era audiences and were popular with women. Crawford became one of Hollywood’s most prominent movie stars and one of the highest paid women in the United States, but her films began losing money and by the end of the 1930s she was labeled “box office poison”.After an absence of nearly two years from the screen, Crawford staged a comeback by starring in Mildred Pierce (1945), for which she won the Academy Award for Best Actress. In 1955, she became involved with the Pepsi-Cola Company through her marriage to company president Alfred Steele. After his death in 1959, Crawford was elected to fill his vacancy on the board of directors but was forcibly retired in 1973. She continued acting in film and television regularly through the 1960s, when her performances became fewer; after the release of the British horror film Trog in 1970, Crawford retired from the screen. Following a public appearance in 1974, after which unflattering photographs were published, Crawford withdrew from public life and became more and more reclusive until her death in 1977.Crawford married four times. Her first three marriages ended in divorce; the last ended with the death of husband Al Steele. She adopted five children, one of whom was reclaimed by his birth mother. Crawford’s relationships with her two older children, Christina and Christopher, were acrimonious. Crawford disinherited the two and, after Crawford’s death, Christina wrote a “tell-all” memoir, Mommie Dearest, in which she alleged a lifelong pattern of physical and emotional abuse perpetrated by Crawford.

    Contents

    Crawford was born Lucille Fay LeSueur in San Antonio, Texas, the third child of Tennessee-born Thomas E. LeSueur (1868–1938) and Anna Bell Johnson (1884–1958). Her older siblings were Daisy LeSueur, who died very young, and Hal LeSueur. Thomas LeSueur abandoned the family a few months before Crawford’s birth. He reappeared in Abilene, Texas, in 1930 as a 62-year-old construction laborer on the George R. Davis House, built in Prairie School architecture.[4]Crawford’s mother subsequently married Henry J. Cassin. The family lived in Lawton, Oklahoma, where Cassin ran a movie theater. Crawford was unaware that Cassin was not her birth father until her brother Hal told her.[5] The 1910 federal census for Comanche County, Oklahoma, enumerated on April 20, showed Henry and Anna living at 910 “D” Street in Lawton. Crawford was listed as five years old, thus showing 1905 as her likely year of birth. However, the state of Texas did not require the filing of birth certificates until 1908, allowing Crawford to claim she was born in 1908.Crawford preferred the nickname “Billie” as a child and she loved watching vaudeville acts perform on the stage of her stepfather’s theater. Her ambition was to be a dancer. However, in an attempt to escape piano lessons to run and play with friends, she leapt from the front porch of her home and cut her foot deeply on a broken milk bottle. Crawford had three operations and was unable to attend elementary school for a year and a half. She eventually fully recovered and returned to dancing.Around 1916, Crawford’s family moved to Kansas City, Missouri. Cassin was first listed in the City Directory in 1917, living at 403 East Ninth Street. While still in elementary school, Crawford was placed in St. Agnes Academy, a Catholic school in Kansas City. Later, after her mother and stepfather broke up, she stayed on at St. Agnes as a work student. She then went to Rockingham Academy as a work student. While attending Rockingham she began dating and had her first serious relationship, with a trumpet player named Ray Sterling. It was Sterling who inspired her to begin challenging herself academically,[6] and in 1922, Crawford registered at Stephens College in Columbia, Missouri. She gave her year of birth as 1906. Crawford attended Stephens for less than a year, as she recognized that she was not academically prepared for college.

    Upper body studio shot of a young Crawford in a sleeveless dress, with accented eye make-up, coiffed hair. She is staring into the c
am
era.
    Joan Crawford in 1928Under the name Lucille LeSueur, Crawford began dancing in the choruses of traveling revues and was spotted dancing in Detroit by producer Jacob J. Shubert.[7] Shubert put her in the chorus line for his 1924 show Innocent Eyes at the Winter Garden Theatre on Broadway in New York City. While appearing in Innocent Eyes Crawford met a saxophone player named James Welton. The two were allegedly married in 1924 and the couple lived together for several months, although this supposed marriage was never mentioned in later life by Crawford.[8] She wanted additional work and approached Loews Theaters publicist Nils Granlund. Granlund secured a position for her with producer Harry Richmond’s act and arranged for her to do a screen test which he sent to producer Harry Rapf in Hollywood.[9] Stories have persisted that Crawford further supplemented her income by appearing in one or more stag, or soft-core pornographic, films,[8] although this has been disputed.[10] Rapf notified Granlund on December 24, 1924 that Metro-Goldwyn-Mayer had offered Crawford a contract at $75 a week. Granlund immediately wired LeSueur – who had returned to her mother’s home in Kansas City – with the news; she borrowed $400 (which she never paid back) for travel expenses.[11] The night after Christmas she left Kansas City and arrived in Culver City, California.As Lucille LeSueur, her first film was Pretty Ladies in 1925, which starred ZaSu Pitts. Also in 1925 she appeared in a small role in The Only Thing and in Old Clothes opposite Jackie Coogan. MGM publicity head Pete Smith recognized her ability but felt that her name sounded fake; it also, he told studio head Louis B. Mayer, sounded like “Le Sewer”. Smith organized a contest in conjunction with the fan magazine Movie Weekly to allow readers to select her new name. Initially the name “Joan Arden” was selected but, when another actress was found to have prior claim to that name, the alternate name “Crawford” became the choice.[12] Crawford initially wanted her new first name to be pronounced “Jo-anne”. She hated the name Crawford, saying it sounded like “crawfish”. Her friend, actor William Haines, quipped, “They might have called you ‘Cranberry’ and served you every Thanksgiving with the turkey!”[13] Crawford continued to dislike the name throughout her life but, she said, “liked the security that went with it”.[14]

    Growing increasingly frustrated over the size and quality of the parts she was given, Crawford embarked on a campaign of self-promotion. As MGM screenwriter Frederica Sagor Maas recalled, “No one decided to make Joan Crawford a star. Joan Crawford became a star because Joan Crawford decided to become a star.”[15] She began attending dances in the afternoons and evenings at hotels around Hollywood, where she often won dance competitions with her performances of the Charleston and the Black Bottom.[16] Her strategy worked, and MGM cast her in the film where she first made an impression on audiences, Edmund Goulding‘s Sally, Irene and Mary (1925). She played Irene, a struggling chorus girl. In the same year, Crawford worked on Lady of the Night, starring Norma Shearer. Crawford was made up and used as a double for Shearer and her face is briefly seen. Crawford coveted the roles that Shearer played but knew that Shearer’s husband, producer Irving Thalberg, guaranteed Shearer first choice of roles in any MGM property. “How can I compete with Norma?” Crawford was quoted as saying. “She sleeps with the boss.”[17]The following year, Crawford was named one of the WAMPAS Baby Stars, along with Mary Astor, Mary Brian, Dolores Costello, Dolores del Río, Janet Gaynor and Fay Wray. For the next two years, Crawford appeared in increasingly important films. In 1926, she made Paris, where she was able to show her sex appeal. She became the romantic interest for some of MGM’s leading male stars, among them Ramón Novarro, William Haines, John Gilbert and Tim McCoy. Crawford appeared in The Unknown (1927), starring Lon Chaney, Sr. who played a carnival knife thrower with no arms. Crawford played his skimpily clad young carnival assistant whom he hopes to marry. She stated that she learned more about acting from watching Chaney work than from anything else in her career. “It was then”, she said, “I became aware for the first time of the difference between standing in front of a camera, and acting.”[18]In 1928, Crawford starred opposite Ramón Novarro in Across to Singapore, but it was her role as Diana Medford in Our Dancing Daughters (1928) that catapulted her to stardom. The role established her as a symbol of modern 1920s-style femininity that rivaled the image of Clara Bow, the original IT girl, and who was at that time Hollywood’s foremost flapper. A stream of hits followed Our Dancing Daughters, including two more flapper-themed movies, in which Crawford embodied for her legion of fans (many of whom were women) an idealized vision of the free-spirited, all-American girl. F. Scott Fitzgerald wrote of her:[19]

    Joan Crawford is doubtless the best example of the flapper, the girl you see in smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly bitter expression, dancing deliciously, laughing a great deal, with wide, hurt eyes. Young things with a talent for living.

    On June 3, 1929, Crawford married Douglas Fairbanks, Jr. at Saint Malachy’s Roman Catholic Church in New York City.[20] Fairbanks was the son of Douglas Fairbanks and the stepson of Mary Pickford, who were considered Hollywood royalty. Fairbanks Sr. and Pickford were opposed to the marriage and did not invite the couple to their home, Pickfair, for eight months after the marriage. The relationship between Crawford and Fairbanks, Sr. eventually warmed; she called him “Uncle Doug” and he called her “Billie”.[21] Following that first invitation, Crawford and Fairbanks, Jr. became more frequent guests, which was hard on Crawford. While the Fairbanks men played golf together, Crawford was left with Pickford or left alone.[22]To rid herself of her Southwestern accent, Crawford tirelessly practiced diction and elocution. She said:[23]

    If I were to speak lines, it would be a good idea, I thought, to read aloud to myself, listen carefully to my voice q

    uality and enunciation, and try to learn in that manner. I would lock myself in my room and read newspapers, magazines and books aloud. At my elbow I kept a dictionary. When I came to a word I did not know how to pronounce, I looked it up and repeated it correctly fifteen times.

    Her first talkie was Untamed (1929), opposite Robert Montgomery, which was a box office success. Crawford made an effective transition to sound movies. One critic wrote, “Miss Crawford sings appealingly and dances thrillingly as usual; her voice is alluring and her dramatic efforts in the difficult role she portrays are at all times convincing.”

    A studio publicity shot of  Crawford in dark clothes. Her face is highlighted; she smiling slightly and looking up.
    Crawford as Sadie Thompson in Rain (1932)With the early sound film, Our Blushing Brides (1930), another financial success, MGM began to develop a more sophisticated image of Crawford, rather than continuing to promote her flapper girl persona of the silent era.[24] In 1931, she starred opposite Clark Gable in Possessed. They began an affair during the production, resulting in an ultimatum from studio chief Louis B. Mayer to Gable that the affair end. Gable complied, although for many years their affair resumed sporadically and secretly. Upon release, Possessed was an enormous hit.The studio then cast her in Grand Hotel, which starred the most famous actors of the 1930s and was MGM’s most prestigious movie of 1932. Crawford later achieved continued success with Letty Lynton (1932). Soon after its release, a plagiarism suit forced MGM to withdraw it. It has never been shown on television or made available on home video, and is therefore considered the “lost” Crawford film. The film is mostly remembered because of the “Letty Lynton dress”, designed by Adrian: a white cotton organdy gown with large ruffled sleeves, puffed at the shoulder. It was with this gown that Crawford’s broad shoulders began to be accentuated by costume. Macy’s copied the dress in 1932, and it sold over 500,000 replicas nationwide.[25]In May 1933, Crawford divorced Fairbanks. Crawford cited “grievous mental cruelty”; “a jealous and suspicious attitude” toward her friends and “loud arguments about the most trivial subjects” lasting “far into the night”.[26]Following Possessed, Crawford starred opposite Gable in the hit Dancing Lady (1933), in which she received top billing. Crawford’s next movies, Sadie McKee, Chained and Forsaking All Others (all 1934), were among the top money makers of the mid-1930s.


    Crawford’s former Brentwood home as it appeared in 1997In 1935, Crawford married her second husband, Franchot Tone, a stage actor from New York who planned to use his film salary to finance his theatre group. Tone and Crawford appeared together in Today We Live (1933) and were immediately drawn to each other, although Crawford was hesitant about entering into another romance so soon after her split from Fairbanks.[27] The couple built a small theatre at Crawford’s Brentwood home and put on productions of classic plays for select groups of friends.[28] Before and during their marriage, Crawford worked to promote Tone’s Hollywood career but Tone was ultimately not interested in being a movie star and Crawford eventually wearied of the effort.[29] Tone began drinking and physically abusing Crawford and she filed for divorce, which was granted in 1939.[30] Crawford and Tone eventually reconciled their friendship and Tone even proposed in 1964 that they remarry. When Tone died in 1968, Crawford arranged for him to be cremated and his ashes scattered at Muskoka Lakes, Canada.[31]The Motion Picture Herald placed Crawford on its list of the top-ten moneymaking stars from 1932, the first year of the poll, through 1936 and Life magazine proclaimed her “First Queen of the Movies” in 1937.[32] Later in 1937 she dropped out of the top ten for the first time, and in 1938 the Independent Film Journal named her and several other stars as “box office poison” based on their supposed lack of popular appeal.[33] However, Crawford made a small comeback with her role as home-wrecker Crystal Allen in director George Cukor’s comedy The Women in 1939. She also broke from formula by taking the unglamorous role of Julie in Strange Cargo (1940), her eighth and final film with Clark Gable. Crawford then starred as a facially disfigured blackmailer in A Woman’s Face (1941). While the film was only a moderate box office success, her performance was hailed by many critics.Crawford adopted her first child, a daughter, in 1940. Because she was single, California law prevented her from adopting within the state so she arranged the adoption through an agency in Las Vegas. The child was temporarily called Joan until Crawford changed her name to Christina. She married actor Phillip Terry on July 21, 1942 after a six-month courtship.[34] Together the couple adopted a son whom they named Christopher, but his birth mother reclaimed the child. They adopted another boy, whom they named Phillip Terry, Jr. After the marriage ended in 1946, Crawford changed the child’s name to Christopher Crawford.After 18 years, Crawford’s contract was terminated by mutual consent on June 29, 1943. In lieu of one more movie owed under her contract, MGM bought her out for $100,000.

    For $500,000 for three movies, Crawford signed with Warner Bros. and was placed on the payroll on July 1, 1943. She made a cameo with many other stars in the G.I. morale-booster Hollywood Canteen (1944). Crawford said one of the main reasons she signed with Warner Bros. was because she wanted to play the character “Mattie” in a proposed 1944 film version of Edith Wharton‘s novel Ethan Frome (1911). However, Bette Davis wanted to play Mattie and reportedly told Jack Warner, “Joan’s far too old, and besides, she can’t act.”

    Face shot of Crawford; her hair is up and her expression somewhat sad.
    Joan Crawford in Mildred Pierce (1945)Crawford wanted to play the title role in Mildred Pierce (1945), but Davis was the studio’s first choice. However, Davis did not want to play the mother of a seventeen year old daughter and she turned the role down. Director Michael Curtiz did not want Crawford and told Jack Warner, “She comes over here with her high-hat airs and her goddamn shoulder pads…why should I waste my time directing a has-been?”[35] Curtiz demanded Crawford prove her suitability by taking a screen test. After the test, Curtiz agreed to Crawford’s casting. Crawford starred opposite Jack Carson, Zachary Scott, Eve Arden, Ann Blyth and Butterfly McQueen. Mildred Pierce was a commercial success

    . It epitomized the lush visual style and the hard-boiled film noir sensibility that defined Warner Bros. movies of the later 1940s. Crawford earned the Academy Award for Best Actress in a Leading Role.From 1945 to 1952, Crawford reigned as a top star and respected actress, appearing in such roles as Helen Wright in Humoresque (1946), Louise Howell Graham in Possessed (1947, for which she was nominated for a second Oscar for Best Actress) and the title role in Daisy Kenyon (also 1947). She did a critically well received sendup of her screen image in a cameo in the Doris Day-Jack Carson musical, It’s a Great Feeling (1949). Crawford’s other movie roles of the era include Lane Bellamy in Flamingo Road (1949), a dual role in the film noir The Damned Don’t Cry (1950) and her performance in the title role of Harriet Craig (1950) at Columbia Pictures. After filming This Woman Is Dangerous (1952), Crawford asked to be released from her Warner Bros. contract. As she had done before, Crawford triumphed as Myra Hudson in Sudden Fear (1952) at RKO, which was the movie that introduced her co-star, Jack Palance, to the screen and earned Crawford a third and final Oscar nomination for Best Actress.Crawford adopted two more children in 1947, twins whom she named Cindy and Cathy.[36]

    Crawford worked in the radio series The Screen Guild Theater on January 8, 1939; Good News; Baby, broadcast March 2, 1940 on Arch Oboler‘s Lights Out; The Word on Everyman’s Theater (1941); Chained on the Lux Radio Theater and Norman Corwin‘s Document A/777 (1948). She appeared in episodes of anthology TV shows in the 1950s and, in 1959, made a pilot for her series, The Joan Crawford Show, but the show was never picked up by a network.

    Crawford married her final husband, Alfred Steele, at the Flamingo Hotel in Las Vegas on May 10, 1955.[37] Crawford and Steele met at a party in 1950 when Steele was an executive with Coca-Cola. They renewed their acquaintance at a New Year’s Eve party in 1954. Steele by that time had become the president of Pepsi Cola.[38] Crawford traveled extensively on behalf of Pepsi following the marriage. She estimated that she traveled over 100,000 miles for the company.[2] Steele died of a heart attack in April 1959. Crawford was initially advised that her services were no longer required. After she told the story to Louella Parsons, Pepsi reversed its position and Crawford was elected to fill the vacant seat on the board of directors.[39] Crawford, left near-penniless following Steele’s death,[40] accepted a supporting role in the film The Best of Everything (1959). It was her first non-starring role in her later career.Crawford received the sixth annual “Pally Award”, which was in the shape of a bronze Pepsi bottle. It was awarded to the employee making the most significant contribution to company sales. In 1973, Crawford was retired from the company at the behest of company executive Don Kendall, whom Crawford had referred to for years as “Fang.”[41]

    After her triumph in RKO’s Sudden Fear, Crawford appeared in films ranging from the camp western film Johnny Guitar (1954) to the drama Autumn Leaves (1956), opposite a young Cliff Robertson. By the early 1960s, however, Crawford’s status in motion pictures had diminished.

    Facial shot of a dishevelled Crawford in bed, on the telephone.
    As Blanche Hudson in What Ever Happened to Baby Jane? (1962)Crawford starred as Blanche Hudson, a physically disabled woman and former A-list movie star in conflict with her psychotic sister in the highly successful thriller What Ever Happened To Baby Jane? (1962). Despite the actresses’ earlier tensions, Crawford suggested Bette Davis for the role of Jane. The two stars maintained publicly that there was no feud between them. However, Crawford accused Davis of kicking her during the filming of a scene in which Jane attacks Blanche, and reportedly retaliated by wearing weights under her clothes in a scene in which Davis had to carry her.[42] The director, Robert Aldrich, explained that Davis and Crawford were each aware of how important the film was to their respective careers and commented, “It’s proper to say that they really detested each other, but they behaved absolutely perfectly.”[43] After filming was completed, their public comments against each other allowed the tension to develop into a lifelong feud. The film became a huge success, recouping its costs in 11 days of nationwide release and temporarily reviving Crawford’s career. Davis was nominated for an Academy Award for her performance as Jane Hudson. Crawford secretly contacted all the other Oscar nominees to tell them if they were unable to attend the ceremony, she would be happy to accept the Oscar on their behalf. Both Davis and Crawford were backstage when the absent Anne Bancroft was announced as the winner and Crawford accepted the award on her behalf. Davis claimed for the rest of her life that Crawford campaigned against her, a charge Crawford denied. That same year, Crawford starred as Lucy Harbin in William Castle‘s horror mystery Strait-Jacket (1964).Director Robert Aldrich cast Crawford and Davis in Hush… Hush, Sweet Charlotte (1964). After a campaign of intimidation by Davis while the film was on location in Louisiana, Crawford returned to Hollywood and entered a hospital. After a prolonged absence in which Crawford was accused of feigning illness, Aldrich was forced to replace her with Olivia de Havilland. Crawford was devastated. “I heard the news of my replacement over the radio, lying in my hospital bed”, Crawford said. “I wept for 39 hours.”[44] Crawford nursed grudges against Davis and Aldrich for the rest of her life, saying of Aldrich, “He is a man who loves evil, horrendous, vile things.” (to which Aldrich replied, “If the shoe fits, wear it, and I am very fond of Miss Crawford.”)[44]Upon her release from the hospital Crawford played the role of Amy Nelson in I Saw What You Did (1965), another William Castle vehicle. She starred as Monica Rivers in Herman Cohen‘s horror thriller film Berserk! (1968). After the film’s release, Crawford guest-starred as herself on The Lucy Show. The episode, “Lucy and the Lost Star”, first aired on February 26, 1968. Crawford struggled during rehearsals and drank heavily on-set, leading series star Lucille Ball to suggest replacing her with Gloria Swanson. Crawford was letter-perfect the day of the show and received two standing ovations from the studio audience.[45]In October 1968, Crawford’s 29-year-old daughter, Christina (who was then acting in New York on the soap opera The Secret Storm), needed immediate medical attention for a ruptured ovarian tumor. Until Christina was well enough to return, Crawford offered to play her role, to which producer Gloria Monty readily agreed. Although Crawford did well in rehearsal, she lost her composure while taping and the director and producer were left to struggle to piece together the necessary footage.[46]Crawford’s appearance in the 1969 TV film Night Galler

    y (which served as pilot to the series that followed), marked one of Steven Spielberg‘s earliest directing jobs. She starred on the big screen one final time, playing Dr. Brockton in Herman Cohen’s science fiction horror film Trog (1970), rounding out a career spanning 45 years and over 80 motion pictures. Crawford made four more TV appearances, as Stephanie White in an episode of The Virginian (1970), entitled “The Nightmare”; as a board member in an episode of The Name of the Game (1971), entitled “Los Angeles”; as Allison Hayes in the made-for-TV movie Beyond the Water’s Edge (1972); and as Joan Fairchild (her final performance) on an episode of the television series, The Sixth Sense, entitled, “Dear Joan: We’re Going To Scare You To Death” (1972).


    Joan Crawford and Rosalind Russell at Crawford’s last public appearance. Following publication of this picture Crawford retired from public life and became increasingly reclusive.In 1970, Crawford was presented with the Cecil B. DeMille Award by John Wayne at the Golden Globes, which was telecast from the Coconut Grove at The Ambassador Hotel in Los Angeles. She also spoke at her alma mater, Stephens College, from which she never graduated.Crawford published her autobiography, A Portrait of Joan – written with Jane Kesner Ardmore – in 1962 through Doubleday. Crawford’s next book, My Way of Life, was published in 1971 by Simon and Schuster. Those expecting a racy tell-all were disappointed, although Crawford’s meticulous ways were revealed in her advice on grooming, wardrobe, exercise, and even food storage.In September 1973, Crawford moved from apartment 22-G to the smaller apartment 22-H in the Imperial House. Her last public appearance was September 23, 1974, at a party honoring her old friend Rosalind Russell at New York’s Rainbow Room. Russell was suffering from breast cancer at the time and died two years later in 1976. When Crawford saw the unflattering photos of both stars that appeared in the papers the next day, she said, “If that’s how I look, then they won’t see me anymore.”[47] Crawford canceled all public appearances, began declining interviews and left her apartment less and less. Her dental-related issues, including surgery which left her in need of round the clock nursing care, also plagued her from 1972 until the middle of 1975. While on antibiotics for this problem in October 1974, Crawford’s drinking caused her to black out, slip and strike her face. This incident scared her enough to give up drinking and smoking, although in public she insisted it was due to her return to Christian Science. The whole incident is recorded in a series of letters sent to her insurance company held at the Lincoln Center Library for the Performing Arts, as well as being documented by her friend, Carl Johnnes, in his book.[48]On May 8, 1977, Crawford gave away her beloved Shih Tzu “Princess Lotus Blossom”, which she was too weak to care for properly.[49] Crawford died two days later at her New York apartment from a heart attack, while also ill with pancreatic cancer.[2] A funeral was held at Campbell Funeral Home, New York, on May 13, 1977. All four of her adopted children attended, as did her niece, Joan Crawford LeSueur (aka Joan Lowe), who was the daughter of her late brother, Hal LeSueur (who had died in 1963). In her will, which was signed October 28, 1976, Crawford bequeathed to her two youngest children, Cindy and Cathy, $77,500 each from her $2,000,000 estate. She explicitly disinherited the two eldest, Christina and Christopher, writing “It is my intention to make no provision herein for my son Christopher or my daughter Christina for reasons which are well known to them.”[50]A memorial service was held for Crawford at All Souls’ Unitarian Church on Lexington Avenue in New York on May 16, 1977, and was attended by, among others, her old Hollywood friend Myrna Loy. Another memorial service, organized by George Cukor, was held on June 24 in the Samuel Goldwyn Theater at the Academy of Motion Picture Arts and Sciences in Beverly Hills, California. Crawford was cremated and her ashes placed in a crypt with her last husband, Alfred Steele, in Ferncliff Cemetery, Hartsdale, New York.Crawford’s hand and footprints are immortalized in the forecourt of Grauman’s Chinese Theater on Hollywood Boulevard in Hollywood. She also has a star on the Hollywood Walk of Fame at 1750 Vine Street. In 1999, Playboy listed Crawford as one of the “100 Sexiest Women of the 20th century”, ranking her #84.

    In November 1978, a year and a half after Crawford’s death, Christina published an exposé titled Mommie Dearest which contained allegations that Crawford was emotionally and physically abusive to Christina and her brother Christopher. Many of Crawford’s friends and co-workers, including Van Johnson, Ann Blyth, Marlene Dietrich, Myrna Loy, Cesar Romero, and Crawford’s other daughters, Cathy and Cindy, denounced the book, categorically denying any abuse.[51] But others, including Helen Hayes[52] and Crawford’s rival Bette Davis, strongly supported the book, with Davis saying that Christina could not have made it up (Davis would ironically become the target of her own daughter B. D. Hyman‘s tell-all book in 1985, My Mother’s Keeper).[53] Christina’s book became a bestseller and was later made into the 1981 film Mommie Dearest, starring Faye Dunaway as Crawford.

    Main article: Joan Crawford filmography

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    Dance portal

  • ^ For most of her life, Crawford maintained that she was born in 1908. San Antonio birth records are not available earlier than 1910. The 1905 date is based on the 1910 U.S. Census, where she was listed as five years old. The Social Security Death Index uses the birth date of March 23, 1908. Crawford gave this date when she applied for Social Security in California, but applicants were not required to show documentation for the date of birth unless they applied for age-based Social Security retirement benefits.
  • ^ a b c “Joan Crawford Dies at Home; Joan Crawford, Screen Star, Dies in Manhattan Home”. New York Times. May 11, 1977, Wednesday. http://www.nytimes.com/learning/general/onthisday/bday/0323.html. Retrieved 2007-08-21. 
  • ^ Obituary Variety, May 18, 1977.
  • ^ Donald S. Fracier, Robert F. Pace, and photographer Steve Butman, Abilene Landmarks: An Illustrated Tour, Abilene, Texas: State House Press, 2008, p. 41
  • ^ Newquist, p. 25
  • ^ Thomas, pp 23–24
  • ^ Thomas, p. 30
  • ^ a b Considine, p. 12
  • ^ Granlund, p. 147
  • ^ Thomas, p. 106
  • ^ Granlund, p 135.
  • ^ Thomas, p. 42
  • ^ Haines, quoted in Thomas, p. 43
  • ^ Crawford, quoted in Newquist, p. 31
  • ^ Maas, quoted in LaSalle, p. 123
  • ^ Thompson, p. 47
  • ^ Crawford, quoted in LaSalle, p. 120
  • ^ Crawford, quoted in Skal, p. 73
  • ^ Fitzgerald, quoted in Thomas, p. vii
  • ^ “Joan Crawford Weds in the East”. Jefferson City MO Daily Capital News. 1929-06-04. 
  • ^ Thomas, p. 80
  • ^ Thomas, p. 63
  • ^ Crawford, quoted in Thomas, p. 65
  • ^ Hay, Peter (1991), MGM: When the Lion Roars, Atlanta: Turner Publishing, Inc., p. 72, ISBN 1-878685-04-X 
  • ^ Leese, p. 18
  • ^ “U.S.”. Time magazine. 1933-03-08. http://www.time.com/time/magazine/article/0,9171,745463,00.html. Retrieved 2009-02-10. 
  • ^ Thomas, p. 94
  • ^ Considine, pp. 91–2
  • ^ Thomas, p. 114
  • ^ Considine, pp. 97–8
  • ^ Thomas, p. 241
  • ^ Thomas, p. 113
  • ^ Thomas, p. 115
  • ^ “Joan Crawford Weds Actor Phillip Terry”. Lubbock (TX) Morning Avalanche (UP): p. 11. 1942-07-22. 
  • ^ Curtiz, quoted in Thomas, p. 136
  • ^ Day, Elizabeth (25 May 2008). “I’ll never forgive Mommie”. Guardian UK (London). http://www.guardian.co.uk/film/2008/may/25/biography.film. Retrieved May 6, 2010. 
  • ^ “Joan Crawford Is Wed in Las Vegas to Businessman”. Moberly (MO) Monitor-Index and Democrat (Associated Press): p. 8. 1955-05-10. 
  • ^ Thomas, p. 190
  • ^ Considine, p. 286
  • ^ “‘I’m Broke, Says Joan Crawford”. Jefferson City (MO) Post-Tribune (Associated Press): p. 1. 1959-06-01. 
  • ^ Quirk, Lawrence; Schoell (2002). Joan Crawford: the essential biography. Twenty-First Century Books. pp. 312. ISBN 0813122546. http://books.google.com/books?id=_yQtRavDvtUC&pg=RA3-PA246&lpg=RA3-PA246&dq=Joan+Crawford+fang&source=bl&ots=TUwbex8DUx&sig=OR562YCuPa9B3Run0NXFVJD4X1g&hl=en&ei=81DdSsqpMI7EsQPQ7fDZDw&sa=X&oi=book_result&ct=result&resnum=3&ved=0CA8Q6AEwAg#v=onepage&q=fang&f=false
  • ^ Considine, pp. 316–17
  • ^ considine
  • ^ a b Considine, p. 363
  • ^ Thomas, p. 231
  • ^ Thomas, pp. 238–9
  • ^ Considine, p. 396
  • ^ Carl Johnnes. Joan Crawford: The Last Years. Dell Publishing. ISBN 0440115361. 
  • ^ Thomas, p. 266
  • ^ Crawford will, quoted in Thomas, p. 263
  • ^ Considine, p. 412
  • ^ Hayes, Helen; Hatch, Katherine (1990). My Life in Three Acts. Harcourt, Brace Jovanovich. ISBN 0151636958. 
  • ^ Considine, p. 413
  • Just Joan: A Joan Crawford Appreciation by Donna Marie Nowak. Albany, BearManor Media 2010. ISBN 978-1-59393-542-9.

    • Bret, David (2006). Joan Crawford: Hollywood Martyr. Robson. ISBN 1861059310.
    • Considine, Shaun (1989). Bette and Joan: The Divine Feud. New York, E. P. Dutton, a division of Penguin Books. ISBN 052524770X.
    • Granlund, Nils T. (1957). Blondes, Brunettes, and Bullets. New York, David McKay Company.
    • Hoefling, Larry J. (2008). Nils Thor Granlund: The Swedish Showman Who Invented American Entertainment. Inlandia Press. ISBN 098223130X.
    • LaSalle, Mick (2000). Complicated Women: Sex and Power in Pre-Code Hollywood. New York, Thomas Dunne Books, an imprint of St. Martin’s Press. ISBN 0312252072.
    • Leese, Elizabeth (1991). Costume Design in the Movies. Dover Books. ISBN 048626548X.
    • Newquist, Roy, with introduction by John Springer (1980). Conversations with Joan Crawford. New Jersey, Citadel Press, a division of Lyle Stuart, Inc. ISBN 0806507209.
    • Skal, David J. (1993). The Monster Show: A Cultural History of Horror. Penguin Books. ISBN 0140240020.
    • Thomas, Bob (1978). Joan Crawford: A Biography. New York, Bantam Books. ISBN 0553129422.

    Good article

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    March 15, 1914
    Saint Paul, Minnesota, United States of America Died February 29, 1980
    Siesta Key, Florida, United States of America Field Painting

    Gil Elvgren (March 15, 1914 – February 29, 1980), born Gillette A. Elvgren in Saint Paul, Minnesota, was an american painter of pin-up girls, advertising and illustration. He was active from the 1930s to 1970s working for various advertising agencies and art companies. Today he is best known for his pin-up paintings, and for his influential style in illustration. Elvgren is often credited as one of the most important American illustrators, and sometimes regarded as the best pin-up girl painter, being called “the Norman Rockwell of cheesecake”.Elvgren started as a freelance illustrator in the mid 1930s, but soon was recruited by the Louis F. Dow Company, and later by Brown & Bigelow, for painting pin-up girls for their products. He was also working for the advertising agency Stevens & Gross under the direction and influence of his mentor Haddon Sundblom. Elvgren created artwork for Coca-Cola during 25 years in this collaboration, but also painted advertisement material for a wide range of companies, and also created accompanying illustrations for stories published in top-selling magazinesDuring his life he created roughly five hundred pin-up paintings, countless advertisement material, and achieved recognition from other artists, the companies he worked for, and the public in general, becoming a popular artist. He also had several apprentices in his studio, and helped other colleagues frequently. Elvgren is also mentioned as a great artistic influence in the field, both for many colleagues, and for other artists of the same time who tried to imitate Elvgren’s style.

    Contents

    Gillette A. Elvgren was born on March 15, 1914, in Saint Paul, Minnesota, to Alex and Goldie Elvgren. His parents had a paint and wallpaper shop in downtown St. Paul. They soon noticed the drawing skills of his son, and after he graduated in University High School, he entered the University of Minnesota to study architecture and design, supported by his parents. But at the same time, he also attended at art classes at the Minneapolis Art Institute. During the year 1933 he took the decision of quitting the architecture career and paint professionally.That same year, he married Janet Cummings, his formal girlfriend since high school. At the beginning of 1934, the young couple moved to Chicago to attend the prestigious American Academy Of Art. One of his teachers was the artist Bill Mosby, who developed a close friendship with the young artist. Mosby guided Elvgren’s hard work and helped him evolve into a talented and skilled painter. Elvgren often took extra courses and painted in his free time to improve his skills, showing dedication in whatever could help him to become a great artist. He graduated only two years later, in almost half the normal time it took to graduate in the Academy.After two years of economical struggle, Elvgren and his wife went back to Saint Paul in 1936. Elvgren opened a studio and very soon received his first commission.

    Elvgren’s first paid work was for a front cover for a fashion catalogue. His depiction of a man in elegant clothes was praised by the company’s president, and Elvgren was commissioned by more jobs immediately.Elvgren’s next assignment was an unexpected strike of luck. After being required to present his credentials to Brown & Bigelow, one of the world’s most important calendar companies, he was assigned two paintings of the famous Dionne Quintuplets. His paintings were published in 1937 and 1938, and the calendars were highly popular. He was very lucky to have been assigned such a job with the famous Quintuplets, but he was up to the task with his talent, as the numbers promptly proved. Brown & Bigelow had to pay around $60,000 in royalties to the Dionne Quintuplets, a number which tells about the huge popularity reached by these calendars. This single commission granted him notoriety not only in Brown & Bigelow, but also in front of potential job sources, and transformed him from an almost unknown painter into a widely known artist.Following the success of the first Quintuplets painting, he was approached in the beginning of 1937 by the Louis F. Dow Company, another calendar manufacturer also located in Saint Paul, and direct competition of Brown & Bigelow. He was offered to paint pin-up girls for Dow, and he accepted without hesitation. Dow would not only reproduce his works in calendars, but also in a wide array of products ranging from notepads to matchboxes. Elvgren created around 60 pin-up girls for Dow, which were later reused by being overpainted with different clothes and backgrounds.In 1938, Elvgren had his first child, a daughter called Karen. Elvgren was already working hard, not only for Dow, but also for many advertisement commissions. A better economic position made him decide to move to Chicago in 1940.After arriving to Chicago, he was approached by the advertising agency Stevens & Gross, and Elvgren eagerly signed for them, working as a fixed artist. There he met one of his main influences and also one of his most adm
    ir
    ed artists, the reputed Haddon Sundblom. It was Sundblom the one who presented Elvgren’s talent to The Coca-Cola Company. As a result, Elvgren’s ads for Coca-Cola appeared next to Sundblom’s ones. His works for Coca-Cola lasted 25 years and spanned billboards, calendars, flyers and more.During his first months in Stevens & Gross, he was introduced to Andrew Loomis, one of his early influences. As a result of his meeting with Loomis, Elvgren agreed to teach art classes at the Academy during that fall.In 1942, his second child was born, named Gillette Jr. By then, the World War II brought him more advertising work, and inspired him some of his most famous works in the commercial field.

    Weighty Problem (Starting at the Bottom) (1962), a pin-up illustration by Gil ElvgrenIn 1944, his third and last child was born, named Drake. That same year, Brown & Bigelow invited him to join the company as a permanent artist. Brown & Bigelow staff comprised some of the finest illustrators and pin-up painters of the time, like Rolf Armstrong, Earl Moran and Zoë Mozert. The recent birth of his son, and the suculent salary proposed, made him accept the offer.The terms of the agreement were an initial salary of $24,000 in the first year, for 18 to 20 pin-up girls per year, roughly one thousand dollars per pin-up. That made him one of the best paid pin-up artist of the time. Brown & Bigelow also asked for exclusivity; however this only applied to pin-up girls, and Elvgren continued working in the field of advertisements.His first works for Brown & Bigelow immediately became huge successes. It was while working for this company when Elvgren improved even further his style, starting with a new, stylised signature which became characteristic for the pin-up fans. According to many pin-up experts, Elvgren created his very best works in this part of his life. It’s his style, starting from this era, the style which made Elvgren famous for the public, and recognized by critics and colleagues. Elvgren created around 400 pin-up girls for Brown & Bigelow.In 1951, Elvgren moved with his family from downtown Chicago to the village of Winnetka. An advantageous new salary arrangement with Brown & Bigelow allowed him to build an studio in his own house. This allowed him to work in a better environment, and control even more the metodic processes he used for modelling and creation of his works.During 1953, Elvgren and his family went to Florida on vacation. In 1956 he convinced his family to move to this state, specifically to Siesta Key, where he built a new studio. It’s uncertain weather Elvgren took apprentices in his Chicago studio, but he took several young artist under his arm in his two-floor studio in Florida. He taught them not only the technicalities of painting, but also the appropriate way to face a specific assigment in the field of commercial illustration. Many of his disciples later became renowned artist by their own merits. In Florida, Elvgren had a stable life, with more jobs than he could achieve, and he was reaching the peak of his skills.

    Despite his successful career, Elvgren was deeply struck by the death of his wife Janet in 1966 due to cancer. Elvgren dedicated himself totally to his work, creating the best art of his life during these years. He later dated Marjorie Shuttleworth, but never remarried.In 1970 he retired, and although he kept painting, as he did during all his life, most of his works of that era haven’t seen the light.At the age of seventy-five, Elvgren died on February 29, 1980 due to cancer, like his first wife.

    There are several troubles when analyzing the works of Gil Elvgren:

    • Unavailability of date.
    • Multiple names.
    • Commercial advertisements were often unsigned.
    • Lack of sources except print magazines.
    • Repaints and overpaints.

    Since Elvgren’s works were mainly in the field of commercial illustration, he could finish a work one year, being copyrighted in one or two years more, and then not being published until next year, or lay in stores until publication for even more time. There’s even one case where the painting for the commission got lost for years before being revealed to the public[citation needed].While this is true for his pin-up paintings and calendar commissions, illustrations for advertisement often reached publication in a short period of time.Another problem is the real names of the paintings. While Elvgren could name a painting of his, or suggest names for it, the naming was in total control of the copyright owners of the publishing companies. Some works were reproduced more than once, often giving them more alternate names. So while some paintings had one clear name, others have two, three or even more, often based just in the accompanying text which was printed with the pin-up.Advertisement artwork almost never had a name. On top of that, as a common request from the advertising company, these works were almost never unsigned either. This brings the trouble of identifying which advertisements were created by Elvgren, and which by other artists of the era from the same Sundblom School, or just by imitators of this style.Advertisement artwork is mostly found only in the printed magazines, sometimes in black & white, with the original source lost or unavailable. But for pin-up paintings, many original oil over canvas have been preserved by gallerists and collectors.One final problem is the fact that the Louis F. Dow Company sometimes repainted Elvgren’s works and released them as new creations, but still attributing authoring to Elvgren. This happened specially after Elvgren went to Brown & Bigelow and earned more fame than he had while working for Dow. Many of these repaints, sometimes called overpaints, were done by Vaughn Alder Bass, who was himself a skilled oil painter, and was up to the task on many times. An often made comparison is the Elvgren work A Perfect Pair, with the Bass repaint of the same name. Both attest the same style and quality. Unfortunately this means that sometimes it’s unknown whether a repaint was made by Elvgren by request, or it was an overpaint by Bass or some other artist.All these problems still happen for gallerists, fans, collectors and sellers of replica paintings. The galleries and sellers often list names for the paintings which are totally made up, maybe due to lack of knowledge, or sometimes due to repeated names. Even Brown & Bigelow Licensing, the copyright holder of many of Elvgren’s paintings, list incomplete or wrong names for many of them. Some works not made by Elvgren, but inaccurately attributed to him, are sold as genuine Elvgren artworks. Notably, a few works are only available in their “repainted” versions, but the original is nowhere to be found.But probably the worst problem is that many of the original oil paintings are lost, and only reproductions of them are available today. For advertisement works, the norm is to find only the result in a printed magazine, sometimes only in black and white.

    While Elvgren is mainly known for his pin-ups for Brown & Bigelow, and to a lesser extent, for the pin-ups for the Louis F. Dow Company, he committed a countless amount of works for other contractors, sometimes through Brown & Bigelow, but mainly by his solid position at Steven & Gross.His advertisement works spanned many companies, to name a few: Coca-Cola, Pangburn’s Chocolates, Orange Crush, Pabst, Schlitz, Red Top Beer, Ovaltine, Royal Crown Soda, Frankfort Distilleries, Four Roses Blended Whisky, Campana Balm, General Tire, Sealy Mattress, Serta Perfect Sleep, Napa Auto Parts, Ditzler Automotive Finishes, General Electric Appliance, Ford, Studebaker, and many more.The illustration side of his works isn’t limited to exclusively advertising; he also created illustrations for stories published in some

    of the most popular magazines of the era, for example: McCall’s, Cosmopolitan, Good Housekeeping, Woman’s Home Companion, Redbook, and Saturday Evening Post. On the top of Elvgren’s career, these magazines willingly waited up to a year to get the results of their commissions from Elvgren’s busy schedule.Elvgren was so popular, that he designed a letter opener with the shape of one of his pin-up girls, to be sold as a marketing product for gift. This creation circa 1948 was marked with the company’s logo, and then it could be used for promotion.

    From the so-called “Dow era”, his most famous pin-up is A Perfect Pair (1940s), later repainted by Bass. This pin-up was the best sold work for Dow. Another important work was The High Sign (1942), this painting was so popular that it was the second pin-up that Dow wanted repainted by Bass.Just before Elvgren became part of Brown & Bigelow’s staff, he accepted a commission from Joseph C. Hoover and Sons. To not hinder his agreement with Brown & Bigelow, he requested that this creation would be unsigned, and not publitized as his work. The creation, called Dream Girl (1945), became the best-selling “evening gow” glamour girl from Hoover’s products. Hoover were so pleased with the result that they reused this pin-up in many ways during the next years, and asked Elvgren to do a complete line of pin-ups for them, but by that time, Elvgren was already committed with Brown & Bigelow.The very first work for Brown & Bigelow was Gay Nymph (1946), which was a nude girl in a flower field during the night. This pin-up became a huge success instantly, making Brown & Bigelow to create a special line of products to take advantage of the popularity of this painting.His next nude for Brown & Bigelow was Vision Of Beauty (1947), and reached the popularity of Gay Nymph very quickly, causing again a special line of products for this painting. Vision Of Beauty, while also being a nude, had a different style than of Gay Nymph, entering the field of fine-art due to its glamouristic composition and conservative treatment of the nudity.Nudes were very rare in Elvgren’s career, as he was usually allowed to do only one per year. But the classic pin-ups also proved to be a great success. One of the most prominent examples is He Thinks I’m Too Good to Be True (1948), also called She’s Perfect, Yes…, is one of Elvgren’s most famous and used pin-ups. It was reused for different calendar lines for several years, as well as licensed to other calendar makers of the time. It has also been used as a cover for several recent products related to Elvgren, such as the calendar line of 2007 by Taschen.While not popular, and sometimes even unpublished works, some of Elvgren’s private paintings are noteworthy. Eurasian Girl (1946) was a nude oil on canvas depicting a member of a ballet troupe visiting Chicago. This painting is quite away from Elvgren’s normal style, and again could be considered fine-art. Equally, his Formal Portrait Of Marjorie (undated) is a formal portrait of his wife done in a classical style. The last noteworthy of this kind of works is the painting called Still Life, also called Harem, unpublished until recently. It features the only known full frontal nude of Elvgren’s career, and several other unusual elements mixed with some of Elvgren’s sutile touches, like the bowl of fruit in front of all the composition.Elvgren said that his favourite pin-up painting is Mimi (1956), also called Sweet Dreams. The painting shows the actress Mara Corday.[1]

    Before Elvgren attended his first art class, he already had interest in pin-ups and illustration. He kept a large archive of magazine pages and other illustrations, keeping any drawing or painting which caught his eye. Elvgren maintained this archive during his life, and biographers can keep track of his influences studying it. This archive had creations of many artists, some of them were from the “classic” era like Charles Dana Gibson, Howard Chandler Christy and Harrison Fisher, and others were contemporaneous like Haddon Sundblom, Andrew Loomis, Harvey Dunn and Joseph Christian Leyendecker.All these artists were influences during the first period of Elvgren’s trajectory. However, there were a few which were prominent in this influence. The classic artists Gibson, Christy and Fisher influenced his first pin-up works. Elvgren also mentioned trying to emulate the style of John Henry Hintermeister.Elvgren admired Leyendecker, from the time at the Chicago Academy Of Art. Elvgren used to visit the Art Institute to contemplate his student drawings. Dunn was also a particularly important influence judging by the amount of illustrations of him that he kept in his archives.Elvgren was also a follower of the Brandywine School’s philosophy of painting. It was founded by Howard Pyle, another early influence.Although already skilled and praised for his work, Elvgren was always trying to improve, and seeking new ways of creating the best possible artwork. Probably the largest direct influence in Elvgren’s style was Haddon Sundblom, who Elvgren met when entering Stevens & Gross. They developed a good relationship and became friends. Sundbloom took the young artist under his wing, teaching him new techniques and approaches to paintings, and fine-tuned his skills. Soon Elvgren was up-to-par with his mentor, and both are cited as the prominent examples of the Sundbloom’s Chicago School, also called “Mayonnaise School” due to the creamy and smooth look of their paintings.Another great influence in Elvgren’s life and style was Norman Rockwell. They were introduced at a meeting in 1947 of Brown & Bigelow Manager’s Convention. Their friendship lasted all their life, and they often talked about ideas and technics, influencing each other for many years.Besides creating pin-up art and advertisement illustrations, he was also a skilled photographer, an ability which he used to improve modelling and creation of his works. He wasn’t the only artist who used this help.

    Although Elvgren’s techniques and skills evolved with time, there are a few particular elements of his style which were present during almost all of his career. One of them was how he was capable of using the background and context of the pin-up girl to enhance the situation and painting. Although this wasn’t present in his early paintings for Dow, it’s often cited as one of the key elements for the success of his paintings.Elvgren often idealized the women in his paintings, but making them look as everyday women. His perfect pin-up was a girl with a 15 year old face, but a 20 year old body. He constantly put them in humorous situations, where often they would have the skirt lifted. Upskirts and cleavage were the most common results, with lingerie and nudes appearing seldomly.Common additions to the paintings were animals, specially dogs. Influenced by the environment in his Siesta Key house, he also made several pin-ups with a sea theme. Elvgren also painted numerous glamour girls.Elvgren usually searched for young models, without experience in modelling, to get that fresh look and spontaneity. Some of these young, unknown models later became stars, but also often starlettes in the beginning of their careers sought being models for Elvgren’s exquisite pin-ups. This way, famous stars like Myrna Loy, Donna Reed, Barbara Hale, and Kim Novak modeled for Elvgren. He also used as models girls he knew; for example, one of his favorite models was Janet Rae, daughter of his neighbours.

    http://en.wikipedia.org/wiki/Image:Couldnt_Have_Said_It_Better.jpg

  • ^ A. E. Mendez: That 60s Girl
    • Gil Elvgren: All His Gla

      morous American Pin-Ups, by Charles G. Martignette and Louis K. Meisel, ISBN 978-3-8228-2930-1

    • The Art And Life Of Gil Elvgren,by Charles G. Martignette.
    • The Great American Pin-Up, by Charles G. Martignette and Louis K. Meisel, ISBN 3-8228-1701-5

    • Pin-up girl
    • List of pin-up artists
    • List of illustrators

    Ann Sheridan

    Ann Sheridan


    from the trailer for the film Cowboy from Brooklyn (1938). Born Clara Lou Sheridan
    February 21, 1915(1915-02-21)
    Denton, Texas, U.S. Died January 21, 1967 (aged 51)
    Los Angeles, California, U.S. Occupation Actress Years active 1934–1967 Spouse Edward Norris (m. 1936–1939) «start: (1936)–end+1: (1940)»”Marriage: Edward Norris to Ann Sheridan” Location: (linkback:http://en.wikipedia.org/wiki/Ann_Sheridan)
    George Brent (m. 1942–1943) «start: (1942)–end+1: (1944)»”Marriage: George Brent to Ann Sheridan” Location: (linkback:http://en.wikipedia.org/wiki/Ann_Sheridan)
    Scott McKay (m. 1966–1967) «start: (1966)–end+1: (1968)»”Marriage: Scott McKay to Ann Sheridan” Location: (linkback:http://en.wikipedia.org/wiki/Ann_Sheridan)

    Ann Sheridan (February 21, 1915 – January 21, 1967) was an American film actress.

    Contents

    Born Clara Lou Sheridan in Denton, Texas on February 21, 1915, she was a college student when her sister sent a photograph of her to Paramount Pictures. She subsequently entered and won a beauty contest, with part of her prize being a bit part in a Paramount film. She abandoned college to pursue a career in Hollywood.She made her film debut in 1934, aged 19, in the film Search for Beauty, and played uncredited bit parts in Paramount films for the next two years. Paramount made little effort to develop Sheridan’s talent, so she left, signing a contract with Warner Bros. in 1936, and changing her name to “Ann Sheridan.”Sheridan’s career prospects began to improve. The red-haired beauty would soon become Warner’s top sex symbol. She received as many as 250 marriage proposals from fans in a single week.[1] Tagged “The Oomph Girl,” Sheridan was a popular pin-up girl in the early 1940s.She was the heroine of a novel, Ann Sheridan and the Sign of the Sphinx, written by Kathryn Heisenfelt, published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories were 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 always featured a film actress as heroine.[2]She received substantial roles and positive reaction from critics and moviegoers in such films as Angels with Dirty Faces (1938), opposite James Cagney and Humphrey Bogart, Dodge City (1939) with Errol Flynn and Olivia de Havilland, Torrid Zone with Cagney and They Drive by Night with George Raft and Bogart (both 1940), The Man Who Came to Dinner (1942) with Bette Davis, and Kings Row (1942), where she received top billing playing opposite Ronald Reagan, Robert Cummings, and Betty Field. Known for having a fine singing voice, Ann also appeared in such musicals as Thank Your Lucky Stars (1943) and Shine On, Harvest Moon (1944). She was also memorable in two of her biggest hits, Nora Prentiss and The Unfaithful, both in 1947.Despite these successes, her career began to decline. Her role in I Was a Male War Bride (1949), directed by Howard Hawks and costarring Cary Grant, gave her another success, but by the 1950s, she was struggling to find work and her film roles were sporadic. She appeared in the television soap opera Another World during the mid-1960s.In 1966, Sheridan began starring in a new TV series, a Western-themed comedy called Pistols ‘n’ Petticoats. But she became ill during the filming, and died of esophageal and liver cancer in Los Angeles, California. She had been a chain cigarette smoker for years, and Cagney remarked in his autobiography that when the cancer struck, “she didn’t have a chance.” She was cremated and her ashes were stored at the Chapel of the Pines Crematory in Los Angeles until they were permanently interred at Hollywood Forever Cemetery in 2005.[3] Pistols ‘n’ Petticoats was officially canceled before her death, though some episodes aired afterward. Her lines were dubbed in at least one of these (presumably because the cancer had affected her voice), and she did not appear in a few of the final episodes.Sheridan married three times, including a marriage lasting one year to fellow Warner Brothers actor George Brent. She had one child whom she gave up for adoption. When Miss Sheridan was battling the illness which would eventually take her life, she took it upon herself to locate and reunite with this child, a son, Richard Sheridan. She never revealed the identity of the father of this child.For her contributions to the motion picture industry, Ann Sheridan has a star on the Hollywood Walk Of Fame at 7024 Hollywood Boulevard. It can be said that she was one of the more under appreciated actors of the Golden Age of Cinema. With her striking beauty and broad range as an actor, Ann Sheridan is someone who could share the screen with a James Cagney, Cary Grant or Bette Davis and not be diminished by such giants of Hollywood.

    • Search for Beauty (1934)
    • Bolero (1934)
    • Come on Marines (1934)
    • Murder at the Vanities (1934)
    • Shoot the Works (1934)
    • Kiss and Make Up (1934)
    • The Notorious Sophie Lang (1934)
    • Ladies Should Listen (1934)
    • You Belong to Me (1934)
    • Wagon Wheels (1934)
    • The Lemon Drop Kid (1934)
    • Mrs. Wiggs of the Cabbage Patch (1934)
    • Ready for Love (1934)
    • Star Night at the Coconut Grove (1934) (short subject)
    • Behold My Wife (1934)
    • Limehouse Blues (1934)
    • Enter Madame (1935)
    • One Hour Late (1935)
    • Home on the Range (1935)
    • Rumba (1935)
    • Car 99 (1935)
    • Rocky Mountain Mystery (1935)
    • Mississippi (1935)
    • The Red Blood of Courage (1935)
    • The Glas
      s
      Key
      (1935)
    • The Crusades (1935)
    • Hollywood Extra Girl (1935) (short subject)
    • Fighting Youth (1935)
    • Sing Me a Love Song (1937) (scenes deleted)
    • Black Legion (1937)
    • The Great O’Malley (1937)
    • San Quentin (1937)
    • Wine, Women, and Horses (1937)
    • The Footloose Heiress (1937)
    • Alcatraz Island (1937)
    • She Loved a Fireman (1937)
    • The Patient in Room 13 (1938)
    • Out Where the Stars Begin (1938) (short subject)
    • Mystery House (1938)
    • Little Miss Thoroughbred (1938)
    • Cowboy from Brooklyn (1938)
    • Letter of Introduction (1938)
    • Broadway Musketeers (1938)
    • Angels with Dirty Faces (1938)
    • They Made Me a Criminal (1939)
    • Dodge City (1939)
    • Naughty But Nice (1939)
    • Winter Carnival (1939)
    • Indianapolis Speedway (1939)
    • The Angels Wash Their Faces (1939)
    • Castle on the Hudson (1940)
    • It All Came True (1940)
    • Torrid Zone (1940)
    • They Drive by Night (1940)
    • City for Conquest (1940)
    • Honeymoon for Three (1941)
    • Navy Blues (1941)
    • The Man Who Came to Dinner (1942)
    • Kings Row (1942)
    • Juke Girl (1942)
    • Wings for the Eagle (1942)
    • George Washington Slept Here (1942)
    • Edge of Darkness (1943)
    • Thank Your Lucky Stars (1943)
    • Shine On, Harvest Moon (1944)
    • The Doughgirls (1944)
    • One More Tomorrow (1946)
    • Nora Prentiss (1947)
    • The Unfaithful (1947)
    • The Treasure of the Sierra Madre (1948) (rumored cameo)
    • Silver River (1948)
    • Good Sam (1948)
    • I Was a Male War Bride (1949)
    • Stella (1950)
    • Woman on the Run (1950) (also co-producer)
    • Steel Town (1952)
    • Just Across the Street (1952)
    • Take Me to Town (1953)
    • Appointment in Honduras (1953)
    • Come Next Spring (1956)
    • The Opposite Sex (1956)
    • Woman and the Hunter (1957)
    • The Far Out West (1967)

  • ^ “Everybody Wants to Marry Annie,” AP, May 25, 1941. Accessed June 2, 2009.[1]
  • ^ Whitman Authorized Editions for Girls
  • ^ http://classicfilm.about.com/od/classicfilmactresses/a/annshrdan20705.htm