and good early morning to you, Try. Ah, boxing-the cruel sport. Love this one by Dylan, however:
Ugliest Girl in the World
(Bob Dylan and Robert Hunter)
The woman that I love she got a hook in her nose
Her eyebrows meet, she wears second hand clothes
She speaks with a stutter and she walks with a hop
I don't know why I love her but I just can't stop
You know I love her
Yeah I love her
I'm in love with the
Ugliest Girl in the World
If I ever lose her I will go insane
I go half crazy when she calls my name
When she says babababababy I l-l-love you
There ain't nothing in the world that I wouldn't do
You know I love her Yeah I love her
I'm in love with the Ugliest Girl in the World
The woman that I love she got two flat feet
Her knees knock together walking down the street
She cracks her knuckles and she snores in bed
She ain't much to look at but like I said
You know I love her Yeah I love her
I'm in love with the Ugliest Girl in the
World
I don't mean to say that she got nothing goin' She got a weird sense of
humor that's all her own When I get low she sets me on my feet Got a five
inch smile but her breath is sweet
You know I love her Yeah I love her I'm in love with the Ugliest Girl in the
World
The woman that I love she a got a prizefighter nose Cauliflower ears and a
run in her hose She speaks with a stutter and she walks with a hop I don't
know why I love her but I just can't stop
Joel McCrea
From Wikipedia, the free encyclopedia
Joel Albert McCrea, (November 5, 1905 - October 20, 1990) was an American film actor.
Born in South Pasadena, California, McCrea became interested in films after graduating from Pomona College. He worked as an extra in films from 1927 before being cast in a major role in The Jazz Age (1929). A contract with MGM followed, and then another contract with RKO. He established himself as a handsome leading man who was considered versatile enough to star in both drama and comedy. In the early 1940s he reached the peak of this stage of his career in such films as Alfred Hitchcock's Foreign Correspondent (1940), Preston Sturges' Sullivan's Travels (1941) and The Palm Beach Story (1942).
From the mid 1940s he appeared predominantly in westerns and became one of the most highly regarded actors of this genre. He costarred with fellow veteran western star Randolph Scott in Ride the High Country (1962) but only appeared in a few more films after this, as he preferred to live the remainder of his life as a rancher. In 1969, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. For his contribution to the motion picture industry, Joel McCrea has a star on the Hollywood Walk of Fame at 6901 Hollywood Blvd. and another star at 6241 Hollywood Blvd. for his contribution to radio.
McCrea married the actress Frances Dee in 1933. Together, they had three children, David, Peter, and Jody McCrea, who later became an actor like his father. Joel and Frances remained married until his death in Woodland Hills, California from pneumonia at the age of 84 in 1990. According to David Raban's Stars of the '30s, The McCreas were prodigious savers, accumulating a large estate, which included working-ranch properties. Joel McCrea's work ethic was in part attributed to his Scottish heritage and it also may have stemmed from his friendship in the 1930s with fellow personality and sometime actor, Will Rogers. McCrea recounted that "the Oklahoma Sage" gave him a profound piece of advice: "Save half of what you make, and live on just the other half."
During his lifetime, McCrea and his wife Frances lived, raised their children, and rode their horses on their ranch in what was then an unincorporated area of eastern Ventura County, California. The McCreas ultimately donated several hundred acres of their personal property to the newly formed Conejo Valley YMCA for the city of Thousand Oaks, California, both of which celebrated their 40th anniversaries in 2004. Today, the land on which the Conejo Valley YMCA rests is called "Joel McCrea Park".
Roy Rogers
From Wikipedia, the free encyclopedia
Leonard Franklin Slye (November 5, 1911 - July 6, 1998), who became famous as Roy Rogers, was a singer and cowboy actor. He and his third wife Dale Evans, his golden palomino Trigger, and his German shepherd Bullet were featured in over one hundred movies and The Roy Rogers Show which ran on radio for nine years before moving to television from 1951 through 1964. His productions usually featured two sidekicks, Pat Brady (who drove a jeep called "Nellybelle") and the crotchety bushwhacker Gabby Hayes. Roy's nickname was "King of the Cowboys". Dale's nickname was "Queen of the West." For many Americans (and non-Americans), he was the embodiment of the all-American hero.
Early life
Rogers was born to Andrew ("Andy") & Mattie (Womack) Slye in Cincinnati, Ohio, where his family lived in a tenement building on 2nd Street. (Riverfront Stadium was constructed at this location in 1970 and Rogers would later joke that he had been born at 2nd base.) Dissatisfied with his job and city life, Andy Slye and his brother Will built a 12-by-50-foot houseboat from salvage lumber and in July 1912 the Slye family floated up the Ohio River towards Portsmouth, Ohio. Desiring a more stable existence in Portsmouth, Rogers' parents purchased land on which to build a home, but the flood of 1913 allowed them to move the houseboat to their property and continue living in it on dry land.
In 1919 the Slyes purchased a farm about twelve miles north of Portsmouth at Duck Run near Lucasville, Ohio. They there built a six-room home. Rogers' father soon realized that the farm alone would provide insufficient income for his family and he took a job at a shoe factory in Portsmouth, living there during the week and returning home on the weekends, bearing gifts for the family following paydays, one of which was a horse on which Rogers learned his horsemanship.
After completing the eighth grade, Rogers attended high school at McDermott, Ohio. When he was seventeen his family returned to Cincinnati where his father began work at a shoe factory. Rogers soon decided on the necessity to help his family financially, so he quit high school, joined his father at the shoe factory, and began attending night school. After being ridiculed for falling asleep in class, however, he quit school and never returned.
Rogers and his father felt imprisoned by their factory jobs. In 1929 Rogers' older sister Mary was living at Lawndale, California with her husband. Father and son quit their shoe factory jobs. The family packed their 1923 Dodge for a visit with Mary and stayed there four months before returning to Ohio. Almost immediately, Rogers had the opportunity to travel to California with Mary's father-in-law and the rest of the family followed in the spring of 1930.
The Slyes rented a small house near Mary. Rogers and his father immediately found employment as truck drivers for a highway construction project. They reported to work one morning, however, to learn their employer had gone bankrupt. The economic hardship of the Great Depression had followed them West and the Slyes soon found themselves among the economic refugees traveling from job to job picking fruit and living in worker campsites. (Rogers would later read John Steinbeck's The Grapes of Wrath and marvel at its accuracy.) One day Andy Slye heard of a shoe factory hiring in Los Angeles and asked Rogers to join him in applying there for work. Rogers, having seen the joy that his guitar and singing had brought to the destitute around the campfires, hesitantly told his father that he was going to pursue a living in music. With his father's blessing, he and cousin Stanley Slye went to Los Angeles and sought musical engagements as The Slye Brothers.
In 1933, Roy married Lucile Ascolese, but they were divorced just three years later. The couple had no children.
Career
Rogers moved to California at eighteen to become a singer. After four years of little success, he formed Sons of the Pioneers, a western cowboy music group, in 1934. The group hit it big with songs like "Cool Water" and "Tumbling Tumbleweeds".
From his first film appearance in 1935, he worked steadily in western films, including a large supporting role as a singing cowboy while still billed as "Leonard Slye" in a Gene Autry movie. In 1938 when Autry temporarily walked out on his movie contract, Slye was immediately rechristened "Roy Rogers" [1] and assigned the lead in "Under Western Stars," and a matinee idol, American legend, and competitor for Gene Autry was suddenly born. In addition to his own movies, Rogers played a supporting role in the John Wayne classic Dark Command (1940), a harrowing fictionalization of Quantrill's Raiders directed by Raoul Walsh, who had discovered Wayne in 1929 and changed his name while casting him in The Big Trail, Wayne's first leading role. Rogers became a major box office attraction, and Dale Evans was cast in a movie with him in 1945. The following year, after Roy's wife, Arline, died in childbirth, Roy and Dale married. Although it was Dale's fourth marriage, Roy and Dale were together everafter.
Rogers was an idol for many children through his films and television show. Most of his films were in color in an era when almost all other B-movies were black and white. There were Roy Rogers action figures, cowboy adventure novels, a comic strip, and a variety of marketing successes. Some of his movies would segue into animal adventures, in which Roy's horse Trigger would go off on his own for a while with the camera following him.
The Sons of the Pioneers continued their popularity through the 1950s. Although Rogers was no longer a member, they often appeared as Rogers' backup group in films and on TV.
Rogers and his second wife, Arline (Wilkins) had three children: an adopted daughter, Cheryl, and two biological children, Linda Lou and Roy Jr. Arline died of an embolism shortly after giving birth to Roy Jr. (Dusty) in 1946. Dale and Roy had a daughter, Robin Elizabeth, who died of complications of Down Syndrome at age two. Evans wrote about losing their daughter in her book Angel Unawares.
Roy Rogers on Floodwall Mural painted by Robert Dafford, LaFayette, LA as part of a series of murals at his hometown, Portsmouth, OhioRogers and Evans were also well known as advocates for adoption and as founders and operators of children's charities. They adopted several children. Both were outspoken Christians. In Apple Valley, California, where they made their home, numerous streets and highways as well as civic buildings have been named after them in recognition of their efforts on behalf of homeless and handicapped children.
Roy and Dale's famous theme song, which Dale wrote and they sang as a duet to sign off their television show, was "Happy trails to you, Until we meet again...".
For his contribution to the motion picture industry, Roy Rogers has a star on the Hollywood Walk of Fame at 1752 Vine Street, a second star at 1733 Vine Street for his contribution to radio, and a third star at 1620 Vine Street for his contribution to the television industry.
Roy and Dale were inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma in 1976 and Roy was inducted again as a member of the Sons of the Pioneers in 1995. Roy was also twice elected to the Country Music Hall of Fame, first as a member of The Sons of the Pioneers in 1980 and as a soloist in 1988.
Death
Rogers died of congestive heart failure on July 6, 1998 at age 86. Rogers was residing in Apple Valley, California at the time of his passing.
Vivien Leigh
From Wikipedia, the free encyclopedia
Born November 5, 1913
Darjeeling, West Bengal, British India (now India)
Died July 8, 1967
London, England, (Tuberculosis)
Vivien Leigh (November 5, 1913 - July 8, 1967) was an English actress. Although her film appearances were relatively few, she won two Academy Awards playing "southern belles": Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in A Streetcar Named Desire (1951), a role she had also played in London's West End. She was a prolific stage performer, frequently in collaboration with her husband, Laurence Olivier, who directed her in several of her roles. During her thirty-year stage career, she played parts that ranged from the heroines of Noël Coward and George Bernard Shaw comedies to classic Shakespearean characters such as Ophelia, Cleopatra, Juliet and Lady Macbeth.
Lauded for her beauty, Leigh felt that it sometimes prevented her from being taken seriously as an actress, but ill health proved to be her greatest obstacle. Affected by bipolar disorder for most of her adult life, she gained a reputation for being a difficult person to work with, and her career went through periods of decline. She was further weakened by recurrent bouts of tuberculosis, with which she was first diagnosed in the mid-1940s. She and Olivier divorced in 1960, and Leigh worked sporadically in film and theatre until her death from tuberculosis.
Early life and acting career
Leigh was born Vivian Mary Hartley in Darjeeling, British India to Ernest Hartley, an officer in the Indian Cavalry who was of English parentage, and Gertrude Robinson Yackje, who was of French and Irish descent.[1] The family relocated to Bangalore, where Vivian Hartley made her first stage appearance at the age of three, reciting "Little Bo Peep" for her mother's amateur theatre group. Gertrude Hartley tried to instill in her daughter an appreciation of literature, and introduced her to the works of Hans Christian Andersen, Lewis Carroll and Rudyard Kipling, as well as stories of Greek mythology. An only child, Vivian Hartley was sent to the "Convent of the Sacred Heart" in Roehampton in England, in 1920. Her closest friend at the convent was the future actress Maureen O'Sullivan, to whom she expressed her desire to become "a great actress".[2]
Vivian Hartley completed her later education in Europe, returning to her parents in England in 1931. She discovered that one of Maureen O'Sullivan's films was playing in London's West End and told her parents of her ambitions to become an actress. Both were highly supportive, and her father helped her enroll at the Royal Academy of Dramatic Art (RADA) in London.[3]
In late 1931 she met Herbert Leigh Holman, known as Leigh, a barrister thirteen years her senior. Despite his disapproval of "theatrical people", they were married on December 20, 1932, and upon their marriage she terminated her studies at RADA. On October 12, 1933, she gave birth to a daughter, Suzanne, but felt stifled by her domestic life. Her friends suggested her for a small part in the film Things Are Looking Up, which marked her film debut. She engaged an agent, John Gliddon, who believed that the name "Vivian Holman" was not suitable for an actress, and after rejecting his suggestion, "April Morn", she took "Vivian Leigh" as her professional name. Gliddon recommended her to Alexander Korda as a possible film actress, but Korda rejected her as lacking potential.[4]
Cast in the play The Mask of Virtue in 1935, Leigh received excellent reviews followed by interviews and newspaper articles, among them one from the Daily Express in which the interviewer noted "a lightning change came over her face", which was the first public mention of the rapid changes in mood that became characteristic of her.[5] John Betjeman, the future Poet Laureate, also wrote about her, describing her as "the essence of English girlhood".[6] Korda, who attended her opening-night performance, admitted his error and signed her to a film contract, with the spelling of her name revised to "Vivien Leigh". She continued with the play, but when Korda moved it to a larger theatre, Leigh was found to be unable to project her voice adequately, or to hold the attention of so large an audience, and the play folded soon after.[7] In 1960 Leigh recalled her ambivalence towards her first experience of critical acclaim and sudden fame, commenting, "some critics saw fit to be as foolish as to say that I was a great actress. And I thought, that was a foolish, wicked thing to say, because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry. And it took me years to learn enough to live up to what they said for those first notices. I find it so stupid. I remember the critic very well, and have never forgiven him."[8]
Meeting Laurence Olivier
Leigh with Laurence Olivier in Fire Over England (1937), their first collaborationLaurence Olivier saw Leigh in The Mask of Virtue, and a friendship developed after he congratulated her on her performance. While playing lovers in the film Fire Over England (1937), Olivier and Leigh developed a strong attraction, and after filming was completed, they began an affair. During this time Leigh read the Margaret Mitchell novel Gone with the Wind and instructed her American agent to suggest her to David O. Selznick, who was planning a film version.[9] She remarked to a journalist, "I've cast myself as Scarlett O'Hara", and the film critic C. A. Lejeune recalled a conversation of the same period in which Leigh "stunned us all" with the assertion that Olivier "won't play Rhett Butler, but I shall play Scarlett O'Hara. Wait and see."[10]
Leigh played Ophelia to Olivier's Hamlet in an Old Vic Theatre production, and Olivier later recalled an incident during which her mood rapidly changed as she was quietly preparing to go onstage. Without apparent provocation, she began screaming at him, before suddenly becoming silent and staring into space. She was able to perform without mishap, and by the following day, she had returned to normal with no recollection of the event. It was the first time Olivier witnessed such behaviour from her.[11] They began living together; Holman and Olivier's wife, the actress Jill Esmond, each having refused to grant either a divorce.
Leigh appeared with Robert Taylor, Lionel Barrymore and Maureen O'Sullivan in A Yank at Oxford (1938), the first of her films to receive attention in the United States. During production she developed a reputation for being difficult and unreasonable, and Korda instructed her agent to warn her that her option would not be renewed if her behaviour did not improve.[12] Her next role was in St. Martin's Lane (1938) with Charles Laughton.
Achieving international success
Olivier had been attempting to broaden his film career; despite his success in Britain, he was not well-known in the United States and earlier attempts to introduce him to the American market had failed. Offered the role of Heathcliff in Samuel Goldwyn's production of Wuthering Heights (1939), he travelled to Hollywood, leaving Leigh in London. Goldwyn and the film's director, William Wyler, offered Leigh the secondary role of Isabella, but she refused it, saying she would only play Cathy, a role already assigned to Merle Oberon.[13]
Leigh in a 1939 publicity photograph for Gone with the Wind.Hollywood was in the midst of a widely publicised search to find an actress to portray Scarlett O'Hara in David O. Selznick's production of Gone with the Wind (1939). Leigh's American agent was the London representative of the Myron Selznick Agency (Myron was David's brother), and in February 1938 she asked that her name be placed in consideration for the role of Scarlett. That month, David Selznick watched her two most recent pictures, Fire Over England and A Yank at Oxford, and from that time she became a serious contender for the part. Between February and August, Selznick rented all of her English pictures, and by August he was in negotiation with producer Alexander Korda, to whom Leigh was under contract, for her services later that year. On October 18, Selznick wrote in a confidential memo to director George Cukor, "I am still hoping against hope for that new girl."[14] Leigh travelled to Los Angeles, ostensibly to be with Olivier. When Leigh met Olivier's American agent Myron Selznick, he felt that she possessed the qualities his brother David O. Selznick was searching for. Myron Selznick took Leigh and Olivier to the set where the burning of the Atlanta Depot scene was being filmed, and introduced Leigh. The following day, Leigh read a scene for Selznick, who organised a screen test and wrote to his wife, "She's the Scarlett dark horse and looks damn good. Not for anyone's ear but your own: it's narrowed down to Paulette Goddard, Jean Arthur, Joan Bennett and Vivien Leigh". The director George Cukor concurred and praised the "incredible wildness" of Leigh, who was given the part soon after.[15]
Filming proved difficult for Leigh; Cukor was dismissed and replaced by Victor Fleming, with whom Leigh frequently quarrelled. She and Olivia de Havilland secretly met with Cukor at night and on weekends for his advice about how they should play their parts. She befriended Clark Gable, his wife Carole Lombard and de Havilland, but she clashed with Leslie Howard, with whom she was required to play several emotional scenes. Adding to her distress, she was sometimes required to work seven days a week, often late into the night, and she missed Olivier who was working in New York. She wrote to Leigh Holman, "I loathe Hollywood.... I will never get used to this - how I hate film acting."[16]
In 2006 de Havilland responded to claims of Leigh's manic behaviour during filming Gone with the Wind, published in a biography of Laurence Olivier. She defended Leigh, saying, "Vivien was impeccably professional, impeccably disciplined on Gone with the Wind. She had two great concerns: doing her best work in an extremely difficult role and being separated from Larry [Olivier], who was in New York."[17]
Gone with the Wind brought Leigh immediate attention and fame, but she was quoted as saying, "I'm not a film star - I'm an actress. Being a film star - just a film star - is such a false life, lived for fake values and for publicity. Actresses go on for a long time and there are always marvellous parts to play."[18] Among the ten Academy Awards won by Gone with the Wind was a Best Actress award for Leigh, who also won a New York Film Critics Circle Award for Best Actress.
Marriage and joint projects
In February 1940 Jill Esmond agreed to divorce Olivier, and Holman also agreed to divorce Leigh, although they maintained a strong friendship for the rest of Leigh's life. Esmond was granted custody of Tarquin, her son with Olivier, and Holman was granted custody of Suzanne, his daughter with Leigh. On August 30 Olivier and Leigh were married in Santa Barbara, California, in a ceremony attended only by their witnesses, Katharine Hepburn and Garson Kanin.
Leigh hoped to star with Olivier and made a screentest for Rebecca, which was to be directed by Alfred Hitchcock with Olivier in the leading role, but after viewing her screentest Selznick noted that "she doesn't seem right as to sincerity or age or innocence", a view shared by Hitchcock, and Leigh's mentor, George Cukor.[19] Selznick also observed that she had shown no enthusiasm for the part until Olivier had been confirmed as the lead actor, and subsequently cast Joan Fontaine. He also refused to allow her to join Olivier in Pride and Prejudice (1940), and Greer Garson took the part Leigh had envisioned for herself. Waterloo Bridge (1940) was to have starred Olivier and Leigh, however Selznick replaced Olivier with Robert Taylor, then at the peak of his success as one of Metro-Goldwyn-Mayer's most popular male stars. Leigh's top-billing reflected her status in Hollywood, and despite her reluctance to participate without Olivier, the film proved to be popular with audiences and critics.
She and Olivier mounted a stage production of Romeo and Juliet for Broadway. The New York press discussed the adulterous nature that had marked the beginning of Olivier and Leigh's relationship, and questioned their ethics in not returning to England to help with the war effort, and the critics were hostile in their assessment of the production. Brooks Atkinson for the New York Times wrote, "Although Miss Leigh and Mr Olivier are handsome young people they hardly act their parts at all."[20] While most of the blame was attributed to Olivier's acting and direction, Leigh was also criticised, with Bernard Grebanier commenting on the "thin, shopgirl quality of Miss Leigh's voice." The couple had invested almost their entire savings into the project, and its failure was a financial disaster for them.[21]
They filmed That Hamilton Woman (1941) with Olivier as Horatio Nelson and Leigh as Emma Hamilton. With Britain engaged in World War II, it was one of several Hollywood films made with the aim of arousing a pro-British sentiment among American audiences. The film was popular in the United States, but was an outstanding success in the Soviet Union. Winston Churchill arranged a screening for a party which included Franklin D. Roosevelt and, on its conclusion, addressed the group, saying, "Gentlemen, I thought this film would interest you, showing great events similar to those in which you have just been taking part." The Oliviers remained favourites of Churchill, attending dinners and occasions at his request for the rest of his life, and of Leigh he was quoted as saying, "By Jove, she's a clinker."[22]
The Oliviers returned to England, and Leigh toured through North Africa in 1943, performing for troops before falling ill with a persistent cough and fevers. In 1944 she was diagnosed as having tuberculosis in her left lung, but after spending several weeks in hospital, she appeared to be cured. In spring she was filming Caesar and Cleopatra (1945) when she discovered she was pregnant, but suffered a miscarriage. She fell into a deep depression which reached its nadir when she turned on Olivier, verbally and physically attacking him until she fell to the floor sobbing. This was the first of many major breakdowns related to manic-depression, or bipolar mood disorder. Olivier came to recognise the symptoms of an impending episode - several days of hyperactivity followed by a period of depression and an explosive breakdown, after which Leigh would have no memory of the event, but would be acutely embarrassed and remorseful.[23]
She was well enough to resume acting in 1946 in a successful London production of Thornton Wilder's The Skin of Our Teeth, but her films of this period, Caesar and Cleopatra (1945) and Anna Karenina (1948), were not great successes.
In 1947 Olivier was knighted, and Leigh accompanied him to Buckingham Palace for the investiture. She became Lady Olivier, a title she continued to use after their divorce, until she died.
By 1948 Olivier was on the Board of Directors for the Old Vic Theatre, and he and Leigh embarked on a tour of Australia and New Zealand to raise funds for the theatre. During their six-month tour, Olivier performed Richard III and also performed with Leigh in The School for Scandal and The Skin of Our Teeth. The tour was an outstanding success, and although Leigh was plagued with insomnia and allowed her understudy to replace her for a week while she was ill, she generally withstood the demands placed upon her, with Olivier noting her ability to "charm the press". Members of the company later recalled several quarrels between the couple, with the most dramatic of these occurring in Christchurch when Leigh refused to go on stage. Olivier slapped her face, and Leigh slapped him in return and swore at him before she made her way to the stage. By the end of the tour, both were exhausted and ill, and Olivier told a journalist, "You may not know it, but you are talking to a couple of walking corpses." Later he would comment that he "lost Vivien" in Australia.[24]
The success of the tour encouraged the Oliviers to make their first West End appearance together, performing the same works with one addition, Antigone, included at Leigh's insistence because she wished to play a role in a tragedy.
As Blanche DuBois in the film version of A Streetcar Named Desire (1951), with Marlon BrandoLeigh next sought the role of Blanche DuBois in the West End stage production of Tennessee Williams's A Streetcar Named Desire, and was cast after Williams and the play's producer Irene Mayer Selznick saw her in the The School for Scandal and Antigone, and Olivier was contracted to direct. Containing a rape scene and references to promiscuity and homosexuality, the play was destined to be controversial, and the media discussion about its suitability added to Leigh's anxiety, but she believed strongly in the importance of the work. J. B. Priestley denounced the play and Leigh's performance, and the critic Kenneth Tynan commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". Olivier and Leigh were chagrined that part of the commercial success of the play lay in audience members attending to see what they believed would be a salacious and sensationalist story, rather than the Greek tragedy that they envisioned, but the play also had strong supporters,[25] among them Noël Coward who described Leigh as "magnificent".[26]
After 326 performances Leigh finished her run; however, she was soon engaged for the film version. Her irreverent and often bawdy sense of humour allowed her to establish a rapport with her co-star Marlon Brando, but she had difficulty with the director Elia Kazan, who did not hold her in high regard as an actress. He later commented that "she had a small talent", but as work progressed, he became "full of admiration" for "the greatest determination to excel of any actress I've known. She'd have crawled over broken glass if she thought it would help her performance." Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. Now she's in command of me."[27] The film won glowing reviews for her, and she won a second Academy Award for Best Actress, a BAFTA Award and a New York Film Critics Circle Award for Best Actress. Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of", but in later years, Leigh would say that playing Blanche DuBois "tipped me over into madness".[28]
Continuing illness
In 1951, Leigh and Olivier performed two plays about Cleopatra, William Shakespeare's Antony and Cleopatra and George Bernard Shaw's Caesar and Cleopatra, alternating the play each night and winning good reviews. They took the productions to New York, where they performed a season at the Ziegfeld Theatre into 1952. The reviews there were also mostly positive, but the critic Kenneth Tynan angered them when he suggested that Leigh's was a mediocre talent which forced Olivier to compromise his own. Tynan's diatribe almost precipitated another collapse; Leigh, terrified of failure and intent on achieving greatness, dwelt on his comments, while ignoring the positive reviews of other critics.[29]
In January 1953 Leigh travelled to Ceylon to film Elephant Walk with Peter Finch. Shortly after filming commenced, she suffered a breakdown, and Paramount Studios replaced her with Elizabeth Taylor. Olivier returned her to their home in England, where between periods of incoherence, Leigh told him that she was in love with Finch, and had been having an affair with him. She gradually recovered over a period of several months.
Olivier and Leigh in the 1955 production of Titus AndronicusAs a result of this episode, many of the Oliviers' friends learnt of her problems. David Niven said she had been "quite, quite mad", and in his diary Noël Coward expressed surprise that "things had been bad and getting worse since 1948 or thereabouts."[30]
Leigh recovered sufficiently to play The Sleeping Prince with Olivier in 1953, and in 1955 they performed a season at Stratford-upon-Avon in Shakespeare's Twelfth Night, Macbeth and Titus Andronicus. They played to capacity houses and attracted generally good reviews, Leigh's health seemingly stable. Noël Coward wrote the play South Sea Bubble for her, but she became pregnant and withdrew from the production. Several weeks later, she miscarried and entered a period of depression that lasted for months. She joined Olivier for a European tour with Titus Andronicus, but the tour was marred by Leigh's frequent outbursts against Olivier and other members of the company. After their return to London, her former husband Leigh Holman, who continued to exert a strong influence over her, stayed with the Oliviers and helped calm her.
In 1958, considering her marriage to be over, Leigh began a relationship with the actor Jack Merivale, who knew of Leigh's medical condition and assured Olivier he would care for her. She achieved a success in 1959 with the Noël Coward comedy Look After Lulu, with The Times critic describing her as "beautiful, delectably cool and matter of fact, she is mistress of every situation."[31]
In 1960 she and Olivier divorced, and Olivier married the actress Joan Plowright. In his autobiography he discussed the years of problems they had experienced because of Leigh's illness, writing, "Throughout her possession by that uncannily evil monster, manic depression, with its deadly ever-tightening spirals, she retained her own individual canniness - an ability to disguise her true mental condition from almost all except me, for whom she could hardly be expected to take the trouble."[32]
Final years and death
Merivale proved to be a stable influence for Leigh, but despite her apparent contentment she was quoted by Radie Harris as confiding that she "would rather have lived a short life with Larry [Olivier] than face a long one without him".[33] Her first husband, Leigh Holman, also spent considerable time with her. Merivale joined her for a tour of Australia, New Zealand and Latin America that lasted from July 1961 until May 1962, and Leigh enjoyed positive reviews without Olivier sharing the spotlight with her. Though she was still beset by bouts of depression, she continued to work in the theatre and in 1963 won a Tony Award for Best Actress in a Musical for her role in the Broadway musical Tovarich. She also appeared in the films The Roman Spring of Mrs. Stone (1961) and Ship of Fools (1965).[34]
In May 1967 she was rehearsing to appear with Michael Redgrave in Edward Albee's A Delicate Balance when she became ill with tuberculosis but, after resting for several weeks, seemed to be recovering. On the night of July 7, Merivale left her as usual, to perform in a play, and returned home around midnight to find her asleep. About thirty minutes later (by now July 8), he returned to the bedroom and discovered her body on the floor.[35] She had been attempting to walk to the bathroom, and as her lungs filled with liquid, she had collapsed.[36] Merivale contacted Olivier, who was receiving treatment for prostate cancer in a nearby hospital. In his autobiography, Olivier described his "grievous anguish" as he immediately travelled to Leigh's residence, to find that Merivale had moved her body onto the bed. Olivier paid his respects, and "stood and prayed for forgiveness for all the evils that had sprung up between us",[37] before helping Merivale make funeral arrangements.
She was cremated, and her ashes were scattered on the lake at her home, Tickerage Mill, near Blackboys, East Sussex, England. A memorial service was held at St Martin-in-the-Fields, with a final tribute read by John Gielgud. In the United States, she became the first actress honoured by "The Friends of the Libraries at the University of Southern California". The ceremony was conducted as a memorial service, with selections from her films shown and tributes provided by such associates as George Cukor.[38]
Critical comments
Vivien Leigh was considered one of the most beautiful actresses of her day, and her directors emphasised this in most of her films. When asked if she believed her beauty had been a handicap, she said, "people think that if you look fairly reasonable, you can't possibly act, and as I only care about acting, I think beauty can be a great handicap, if you really want to look like the part you're playing, which isn't necessarily like you."[39]
George Cukor commented that Leigh was a "consummate actress, hampered by beauty",[40] and Laurence Olivier said that critics should "give her credit for being an actress and not go on forever letting their judgements be distorted by her great beauty."[41] Garson Kanin shared their viewpoint and described Leigh as "a stunner whose ravishing beauty often tended to obscure her staggering achievements as an actress. Great beauties are infrequently great actresses?-simply because they don't need to be. Vivien was different; ambitious, persevering, serious, often inspired."[42]
Leigh explained that she played "as many different parts as possible" in an attempt to learn her craft and to dispel prejudice about her abilities. She believed that comedy was more difficult to play than drama because it required more precise timing, and said that more emphasis should be placed upon comedy as part of an actor's training. Nearing the end of her career, which ranged from Noël Coward comedies to Shakespearean tragedies, she observed, "It's much easier to make people cry than to make them laugh."[43]
Her early performances brought her immediate success in Britain, but she remained largely unknown in other parts of the world until the release of Gone with the Wind. In December 1939 the New York Times wrote, "Miss Leigh's Scarlett has vindicated the absurd talent quest that indirectly turned her up. She is so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable",[44] and as her fame escalated, she was featured on the cover of Time Magazine as Scarlett. In 1969 critic Andrew Sarris commented that the success of the film had been largely due to "the inspired casting" of Leigh,[45] and in 1998 wrote that "she lives in our minds and memories as a dynamic force rather than as a static presence."[46] Leonard Maltin described the film as one of the all-time greats, writing in 1998 that Leigh "brilliantly played" her role.[47]
Her performance in the West End production of A Streetcar Named Desire, described by the theatre writer Phyllis Hartnoll as "proof of greater powers as an actress than she had hitherto shown", led to a lengthy period during which she was considered one of the finest actresses in British theatre.[48] Discussing the subsequent film version, Pauline Kael wrote that Leigh and Marlon Brando gave "two of the greatest performances ever put on film" and that Leigh's was "one of those rare performances that can truly be said to evoke both fear and pity."[49]
Kenneth Tynan ridiculed Leigh's performance opposite Olivier in the 1955 production of Titus Andronicus, commenting that she "receives the news that she is about to be ravished on her husband's corpse with little more than the mild annoyance of one who would have preferred foam rubber."[50] He was one of several critics to react negatively to her reinterpretation of Lady Macbeth in 1955, saying that her performance was insubstantial and lacked the necessary fury demanded of the role; however, after her death he revised his opinion, describing his earlier criticism as "one of the worst errors of judgement" he had ever made. He came to believe that Leigh's interpretation, in which Lady Macbeth uses her sexual allure to keep Macbeth enthralled, "made more sense ... than the usual battle-axe" portrayal of the character. In a survey of theatre critics conducted shortly after Leigh's death, several named it as one of her greatest achievements in theatre.[51]
In 1969 a plaque to Leigh was placed in the actors' church, St Paul's, Covent Garden, and in 1985 a portrait of her was included in a series of postage stamps, along with Alfred Hitchcock, Charles Chaplin, Peter Sellers and David Niven to commemorate "British Film Year".[52]
The British Library in London purchased the papers of Laurence Olivier from his estate in 1999. Known as The Laurence Olivier Archive, the collection includes many of Vivien Leigh's personal papers, including numerous letters written by her to Olivier. The papers of Vivien Leigh, including letters, photographs, contracts and diaries, are owned by her daughter, Mrs Suzanne Farrington. In 1994 the National Library of Australia purchased a photograph album, monogrammed "L & V O" and believed to have belonged to the Oliviers, containing 573 photographs of the couple during their 1948 tour of Australia. It is now held as part of the record of the history of the performing arts in Australia.[53]
Art Garfunkel
From Wikipedia, the free encyclopedia
Arthur Ira Garfunkel (born November 5, 1941) is an American singer-songwriter and actor, best known as half of the folk duo Simon and Garfunkel.
Life and work
Early life
Garfunkel was born in Forest Hills, Queens, New York, in New York City. He is of Romanian Jewish ancestry.
He met his future singing partner, Paul Simon, in the sixth grade. Between 1956 and 1962, the two had performed together as Tom & Jerry. Garfunkel ("Tom Graph") chose his nickname because he liked to track, or "graph" hits, on the pop charts. Garfunkel attended Columbia University in the early sixties, where he sang with the Kingsmen, an all-male a cappella group. While at Columbia, he was also a Brother of the Alpha Epsilon Pi Fraternity. In 1962 Garfunkel earned a Bachelor of Arts degree majoring in art history, followed eventually by a Master's degree in mathematics.
In 1963 he and Simon reformed the duo under their own names as Simon and Garfunkel and released their first album, Wednesday Morning, 3 A.M. on Columbia Records in October 1964. It was not a critical success, and the duo effectively split again after recording. The next year their producer Tom Wilson lifted the song "The Sound of Silence" from the record, redubbed an electric backing onto it, and released it as a single, which eventually went to #1 on the Billboard pop charts. They reunited and went on to become two of the most popular artists of the 1960s, releasing a total of five studio albums. However, citing personal differences and divergence in career interests, they split following the release of their most critically acclaimed album, Bridge Over Troubled Water, in 1970.
Solo career
In the 1970s, Garfunkel released a few solo albums, and although he did not reach the heights that Simon and Garfunkel had reached, he still scored hits with "I Only Have Eyes For You" (a 1934 song originally written by Harry Warren [1]) and "Bright Eyes" (both British #1 hit singles), and "All I Know" (#9 in the United States). A version of "Bright Eyes" also appeared in the movie Watership Down.
In between, he also acted in a few movies, including Catch-22 and Carnal Knowledge (1971) with Jack Nicholson, Candice Bergen, and Ann-Margret.
Following disappointing sales of his 1981 album Scissors Cut, Garfunkel reunited with Paul Simon for the famous concert in Central Park. They next worked on a new studio album together, but Garfunkel left the project, not agreeing with Simon's lyrics. After this, Garfunkel left the music scene for several years, but returned in 1988 with the album Lefty. None of these projects garnered much critical success, and Garfunkel did not release another album until 1993's Up 'til Now. Perhaps his most noteworthy recent release is his live 1996 concert Across America, recorded live at the registry hall on Ellis Island. The concert features several musical guests, including James Taylor, Garfunkel's wife, Kim, and his son James.
Recent events
In 2003, Garfunkel made his debut as a songwriter on his well-received Everything Waits to Be Noticed album. Teaming up with singer-songwriters Maia Sharp and Buddy Mondlock, the album represented some of Garfunkel's strongest solo performances to date, and contained several songs whose origins were poems penned by Garfunkel. Although his name had appeared in songwriting credits for a small handful of Simon and Garfunkel's material, Everything Waits to Be Noticed is recognized as his first true effort at songwriting, save his teenage years with Paul Simon in Tom and Jerry.
In 2003, he reunited again with Paul Simon for a U.S. tour, followed by a 2004 international tour.
Garfunkel made news in early 2004 when he was arrested for possession of marijuana.
The only new recording on the collection The Art Garfunkel Album (1984), the song "Sometimes When I'm Dreaming" (written by Mike Batt), was re-recorded in 2004 by ex ABBA singer Agnetha Fältskog on her comeback album My Colouring Book.
In August 2005, Garfunkel received his second marijuana possession charge after a state police trooper found a marijuana cigarette in the ashtray of his car while in New York State.[2]
Trivia
Art Garfunkel's website contains a year by year listing of every book he has read since 1968.
From 1983 to 1997, Garfunkel walked across America, taking 40 excursions to complete the route from New York City to the Pacific coast of Washington.
Appeared in an episode of the PBS television show Arthur as a moose playing "The Ballad of Buster Baxter," in a parody of Jonathan Richman's role in There's Something About Mary.
Tatum O'Neal
From Wikipedia, the free encyclopedia
Tatum Beatrice O'Neal (born November 5, 1963 in Los Angeles, California) is an Academy Award-winning American actress best known for her film work as a child actress in the 1970s.
Brief biography
O'Neal was born into the motion picture family of actor Ryan O'Neal (of mostly Irish ancestry) and actress Joanna Moore (of mostly English descent). Her brother, Griffin, was born in 1964. In 1967 her parents divorced , but they remained very close. Her father married actress Leigh Taylor-Young, the mother of her half-brother, Patrick (who was married to actress Rebecca DeMornay). Tatum's mother died in 1997 of lung cancer at age 63 after a reasonably successful career in which she had appeared in such movies as Touch of Evil.
After struggling with leukemia, Ryan reunited with his former common-law spouse, Farrah Fawcett, after many years of separation.
Troubled childhood
In her autobiography called A Paper Life, Tatum O'Neal alleged that she had been molested by a male friend of her father's. Tatum also alleges physical and emotional abuse from her father, much of which she attributes to drug use. She later said she was dragged to an opium-inspired orgy by Melanie Griffith when she was 12 years old.
Academy Award as a child
In 1974, Tatum O'Neal became the youngest person ever to win the Oscar for Best Supporting Actress for her performance in Paper Moon. This controversial movie, which also featured her real-life father as a con-man, portrayed young Tatum as a child in the company of a crook who was being further tutored in a life of crime and corruption. The motion picture was financed by Herbert W. Armstrong's Ambassador International Cultural Foundation.
Other roles
Other movies starring O'Neal include The Bad News Bears, Nickelodeon (both 1976), International Velvet (1978), and Little Darlings (1980). Her acting career took a backseat to her personal troubles for many years, but in 2005 she began a recurring role as Maggie Gavin on the firehouse drama series Rescue Me, portraying the unbalanced and lively sister of Tommy Gavin played by Denis Leary. O'Neal's character is engaged to be married to a firefighter in her brother's firehouse.
In January 2006, she participated in the second season of ABC's smash reality series Dancing with the Stars but was the second contestant to be eliminated in the second round. She went on to do commentary for the series on Entertainment Tonight.
It was announced that Tatum will star in the lead role of Blythe in the upcoming My Network TV prime-time drama Art of Betrayal.
Marriage
In 1986, O'Neal wed multi-millionaire tennis superstar John McEnroe, and the couple had three children: Kevin, Sean, and Emily.
Following their divorce in 1992, she took up residence in New York City. O'Neal shares joint custody of the children with McEnroe, who married musician Patty Smyth in 1997.
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