Hollywood Actors Archives - Page 115 of 120

Laurence Oliver

Laurence Oliver. TCM Overview.

Laurence Oliver was born in 1907 in Dorking, Surrey. He acted with the Old Vic and made his film debut in 1930 with “Too Many Crooks”. In 1931 he spent a brief time in Hollywood where he made “Westward Passage” among others. By 1933 he was back pursuing his career in Britain. He venture back to Hollywood in 1938 to make “Wuthering Heights”, “Rebecca”, “Lady Hamilton and “Pride and Prejudice”. During World War Two he returned to Britain to enlist. His career soared to new heights with his “Hamlet” and he had a very prolific career on stage and screen both in Britain and the U.S. until shortly before his death in 1989.

TCM Overview:

He was by wide consensus the greatest actor of the 20th century. In an age when the “legitimate” theater held firm to primacy over motion pictures, and classical theater over modern, Laurence Olivier crossed seamlessly between both, even bridging the gap between popular culture and the Shakespearean and classic drama canon of which he was master. His official, glamorized coupling with multiple Oscar-winner Vivien Leigh – “the King and Queen of the theater,” as contemporary Sir John Gielgud once dubbed them – proved far darker than the fairy tale advertised to the public, even as countless rumors swirled around his eclectic extracurricular relationships. His legacy as the definitive Heathcliff and Hamlet, his acclaim even a generation later as the vengeful cuckold in “Sleuth” (1972) and a ruthless Nazi doctor in “Marathon Man” (1976), would see him earn 14 Oscar nominations, three statues, five Emmys out of nine nominations, two British Academy of Film and Television Arts (BAFTA) awards out of 10 nominations – only a few indicators of his titanic impact on his craft and indeed on Western culture.

He was born Laurence Kerr Olivier on May 22, 1907 in Dorking, Surrey, England, the third child of Agnes and Rev. Gerard Olivier – she a warm and doting woman, he an austere and stolid High Anglican minister. Gerard soon moved the family to the bleaker urban scape of London to minister its Dickensian slums, though his considerable inheritance afforded “Larry” a series of parochial schools, including All Saints Church’s “choir school,” which began refining his penchant for the arts, and saw him play Brutus in “Julius Caesar” at age 10. He would be devastated two years later when his mother died of a brain tumor. In 1922, the school company staged its version of “The Taming of the Shrew” at a Stratford-on-Avon Shakespeare birthday festival, with Olivier drawing mainstream raves for his shrewish Katharina (in true Shakespearean drag). He next attended St. Edward’s in Oxford, continued to display thespian talent and, upon graduation, his father advised he pursue a theatrical career.

2654222 Poster for \’The Beggar’s Opera\’ film, starring Laurence Olivier as MacHeath the Highwayman, 1953 (colour litho) by British School, (20th century); Private Collection; (add.info.: Laurence Olivier (22 May 1907 – 11 July 1989), English actor of stage and screen.); Peter Newark Pictures; British, it is possible that some works by this artist may be protected by third party rights in some territories.

At 17, he won a scholarship to the Central School of Speech and Drama, but soon began a two-year stint with the Birmingham Repertory Company. There, he met fellow thespians Peggy Ashcroft, Ralph Richardson and Jill Esmond, with whom he became enamored. They would all graduate to London’s West End theater district. Soon Olivier became a hot commodity, as evidenced by his lead in a garish, overambitious stage production of the French Foreign Legion adventure “Beau Geste.” In 1929, he crossed the Atlantic to make his Broadway debut in “Murder on the Second Floor,” reuniting with Esmond, who, upon his arrival, immediately agreed to his marriage proposal. They would marry in 1930. Also that year, Olivier scored a role in a new play, “Private Lives,” by playwright Noel Coward, who, by various accounts, either successfully or unsuccessfully proffered a sexual dalliance with Olivier, at any rate inaugurating a lifelong friendship. Esmond joined the play’s cast for an early 1931 Broadway run, which caught the attention of American film studios.

They lured the couple to Los Angeles, but Olivier’s three initial movies for RKO – he liked only “Westward Passage” (1932) – did little to set the box office afire. The couple returned to the U.K., where they made their only movie together, “No Funny Business” (1933). MGM would lure him back to Los Angeles, with a one-off project opposite Greta Garbo, but the studio’s grand dame intimidated and took an instant dislike to the newcomer so MGM fired him. Humiliated, Olivier returned to London and the stage with a string of hits, becoming a producer for the first time with the play “Golden Arrow,” co-starring his young Irish discovery Greer Garson, and in a 1935 staging of “Romeo and Juliet” with Gielgud that would run an unheard-of six months. Olivier and Gielgud would take on the unique task of alternating on the Romeo and Mercutio parts. Olivier wowed critics, eschewing the formal, lyrical approach to the Bard by playing Romeo with naturalistic, hormonal verve, which may have spilled over to a physical relationship with his Juliet, Peggy Ashcroft. But at this same time, he became a singular attraction to a young actress who had made it to the West End herself under the name Vivien Leigh.

Leigh, already married and a mother, famously pronounced she would one day marry Olivier, and Olivier himself later claimed that after seeing her breakthrough play “Mask of Virtue,” he experienced “an attraction of the most perturbing nature I have ever encountered.” They starred together in film producer Alexander Korda’s “Fire Over England” (1936), with Olivier playing an agent of Queen Elizabeth on a mission to Spain and Leigh portraying one of the queen’s ladies-in-waiting and his lover, which, as their fervent on-screen embraces betrayed, they had become in real life. Leigh aspired to Olivier’s mastery of classic theater. As the relationship intensified, she eventually picked up his famous fluency in unfettered blue language. Olivier’s persistent religious guilt complicated things, as did Esmond’s recent pregnancy, soon to bear a son, Tarquin – though she remained publicly amicable with both of them. In 1937, Olivier joined the venerable Old Vic theater as a featured star, beginning the year in its production of “Hamlet,” even as he managed to arrange the first tandem projects for himself and his lover: a staging of “Hamlet at Denmark’s Elsinore Castle in the summer, and a film, “Twenty-One Days” (1940), with the two playing lovers on the lam after he accidentally kills her estranged husband. Neither liked the latter, shelving it for three years, but at the end of the production, as news spread of Hollywood’s adaptation of the blockbuster novel Gone With the Wind, she famously prophesied she would play its protagonist, Scarlett O’Hara. Leigh and Olivier soon fessed up to and separated from their respective partners and, after his rare comedic turn with Merle Oberon and Ralph Richardson in “The Divorce of Lady X” (1938), he and Leigh headed to Hollywood – she to fulfill her prophecy and he to finally break through the film barrier as a romantic heartthrob.

It would be Emily Bronte’s “Wuthering Heights” (1939), adapted for film by indie producer Samuel Goldwyn and director William Wyler, that made Olivier a household name across the Atlantic. He played Heathcliff, one-time stable boy spurned for his low breeding by his first love, Cathy (Merle Oberon), who returns years later as a successful, brooding man with his heart hard and set on revenge against his lost love and anyone who had mistreated him in the past. He would credit director William Wyler with teaching him the toned-down nuances of screen versus stage acting, turning in his first Oscar-nominated performance. At the same time, Leigh won Best Actress as Scarlett O’Hara for her work in “Gone with the Wind.” In 1940, their respective spouses agreed to divorce and to the delight of fans, Leigh and Olivier wed. Olivier would rack up two more hits: “Pride and Prejudice,” reuniting him with protégée Greer Garson in the film adaptation of Jane Austen’s witty Victorian parlor romance; and Alfred Hitchcock’s “Rebecca,” which had him as a sullen aristocrat with a new wife (Joan Fontaine) driven to dredge up the mysterious fate of his first spouse while confined to his gothic mansion. Olivier’s disquieted, simmering performance drew yet another Oscar nomination.

Olivier and Leigh returned to Britain to do another tandem picture for Korda, “That Hamilton Woman” (1941), which cast her as an unhappily married socialite and him as the British naval hero Horatio Nelson, which chronicled their illicit romance which became the great scandal of its time. Commissioned by the British government, he next mounted his most ambitious production, a Technicolor version of Shakespeare’s “Henry V” (1944). He produced, directed and starred in the critically acclaimed film, and his delivery of the famed St. Crispin’s Day speech became a rallying cry for the country’s ongoing war effort. The film’s 1946 U.S. release would earn him Oscar nominations for Best Actor and Best Picture, and though he won neither, his top-to-bottom helming of the project would earn him an honorary Academy Award in 1947. Also that year, King George VI knighted Olivier, making the couple “Sir Laurence and Lady Olivier.”

Despite the fairy tale mystique surrounding the legendary couple, all was not well in their household. Leigh increasingly suffered violent tantrums that she would not remember afterward, and to make matters worse, during production of “Caesar and Cleopatra” (1945) she suffered a miscarriage. Tuberculosis compounded her physical and mental health issues; she grew distant and jealous of Olivier’s successes and paranoid about his affairs, both imagined and real, at one point telling him matter-of-factly she was no longer in love with him. Seeking respite, Olivier strayed with any number of rumored partners even as he enabled her own long-term affair with actor Peter Finch, whom he hired for the Old Vic company after its 1948 tour of Australia. That year, he made history with his big-budget Shakespearean film adaptation of “Hamlet” (1948), in which he became the first director to direct himself to a Best Actor Oscar.

The Oliviers continued their stage collaborations; notably he directed her in the 1949 West End production of Tennessee Williams’ “A Streetcar Named Desire.” He settled into a kind of caregiver role for his manic-depressive, bipolar wife, arranging a project of his own, the Wyler-helmed illicit-love tragedy “Carrie” (1952), to travel with her while she made “Streetcar” (1952) in Hollywood. Her co-star Marlon Brando later wrote he eschewed a tryst with Leigh out of respect for Olivier, but oddly, David Niven claimed in his autobiography that he witnessed Brando kissing Olivierat the couple’s mansion. (Though long a subject of rumor and controversy, Olivier’s third wife, Joan Plowright, would acknowledge his libertinism and bisexuality in a 2006 radio interview). Leigh was back with Finch in Ceylon in 1953 for the film “Elephant Walk” (1952) when she suffered a full-blown break, causing her to be hospitalized and be given a lifelong regimen of electroshock therapy, which would render her even more alien to Olivier.

He earned another Oscar nomination for his villainous “Richard III” (1955), and followed it up with a Marilyn Monroe mismatched-pair fantasy, “The Prince and the Showgirl” (1957), which he also directed. Meanwhile, he had commissioned West End enfant terrible John Osborne to write him a drama that could contemporize his own image. Osborne produced “The Entertainer,” which had Olivier as an unpleasant, archaic song-and-dance man still working Britain’s crumbling dance-halls, metaphorical of an Imperial society in decay. He began a relationship with his onstage daughter, Joan Plowright. She would star with him in the 1960 film adaptation, which would earn Olivier yet another Best Actor Oscar nomination. He and Leigh would divorce that year, leading to Olivier and Plowright marrying in 1961. With the dissolution of the Old Vic company in 1962, he would soon oversee another regeneration called the National Theatre Company, with Olivier serving as its first director. Under his tenure, it would nurture a new generation of talent, including Michael Gambon, Derek Jacobi, Alan Bates and Anthony Hopkins. The National’s production of “Othello” would become the 1965 film, for which Olivier and his three co-stars would all win Oscar nominations.

Olivier continued to be selective with film in the 1960s. His leading roles became less frequent but affecting, as with “Term of Trial” (1962), in which he gave a heartbreaking performance as a high school teacher whose life is turned upside down when a spurned student accuses him of seducing her; and his understatedly cool detective in “Bunny Lake is Missing” (1965). Olivier had also begun taking film-stealing supporting roles, in which he often played villains. He played Johnny Burgoyne, the dashing nemesis of the colonials Kirk Douglas and Burt Lancaster in George Bernard Shaw’s Revolutionary War drama “The Devil’s Disciple,” (1959); thwarted Douglas again as the scheming, draconian general Crassus in Stanley Kubrick’s epic “Spartacus” (1960); an Islamic would-be messiah in “Khartoum” (1966); a Soviet premier in “Shoes of the Fisherman” (1968); and, later, as the nefarious Dr. Moriarty in the revisionist Sherlock Holmes adventure “The Seven-Per-Cent Solution” (1976).

The late 1960s would begin a series of health crises for Olivier, starting with treatment of prostate cancer, but he would nevertheless be prolific in bringing the stage to mass media in the 1970s. He oversaw the translation of the National’s productions of Chekhov’s “Three Sisters” (co-starring Plowright) into a theatrical film and Eugene O’Neill’s “Long Day’s Journey Into Night” (1973) into a TV-movie for broadcast on ITV in the U.K. and ABC in the U.S, earning him an Emmy. However, he relinquished helm of the theater soon thereafter amid some contention with its board, just a few years before the company moved into the new Olivier Theater. In 1974, he barely survived the onset of the muscle disease dermatopolymyositis, but returned the next year with the TV-movie “Love Among the Ruins” (ABC, 1975), playing a barrister charged with defending a woman he fell in love with years ago, both now in their twilight years. Both he and Katherine Hepburn won Best Actor Emmys for a “special” broadcast. He would also bring Tennessee Williams’ “Cat on a Hot Tin Roof” and William Inge’s “Come Back, Little Sheba” to NBC in 1976 and 1977, respectively.

His selective, age-adjusted cinematic outings brought continued accolades, notably three more Oscar nominations for his manipulative cuckolded husband in the cat-and-mouse thriller “Sleuth;” ice-blooded Nazi dentist, famously torturing Dustin Hoffman via check-up in “Marathon Man” (1976); and as a dry, unflappable Nazi hunter in “The Boys from Brazil” (1978). He received a second honorary Oscar the following year for his body of work. He also stood out as an old pickpocket shepherding the two smitten adolescents in Venice in “A Little Romance” (1979) and as the vampire hunter Van Helsing in the 1979 remake of “Dracula.” His work as Neil Diamond’s orthodox Jewish father in the remake of “The Jazz Singer” (1980), however, was viewed as overwrought and mawkish. He won another BAFTA Best Actor nomination for “A Voyage Round My Father” (1983) opposite Alan Bates, and won yet another Emmy that year for his turn as “King Lear” (ABC). Worried about his estate, he peppered his later years’ work with glorified cameos – some in projects he knew to be awful, as with “Inchon” (1981) and “Clash of the Titans” (1981), but others in higher-quality fare like “The Bounty” (1985). In 1984, the top awards for British theatrical awards were renamed the Laurence Olivier Awards. His infirmities became evident during the March 1985 Academy Awards telecast, when he capped the evening presenting the Best Picture Oscar, but inadvertently sidestepped the tradition of running down the nominees first and simply stated the winner, “Amadeus.” He appeared in the “Entertainer”-reminiscent Granada TV series “Lost Empires” (PBS, 1987) about the decline of U.K. vaudeville, for which he earned his last Emmy nomination, then made a final cameo as an old soldier in Derek Jarman’s stylistic “War Requiem” (1989). He died on July 11, 1989, at his home in Steyning, West Sussex. His burial at Westminster would rival British state funerals, televised nationally throughout the U.K.

By Matthew Grimm

Elissa Landi was born in 1904 in Venice in Italy. She was raised in Austria and educated in England. In the 1920’s she appeared in many Euopean productions. In 1931 she went to Hollywood. She had a few years of big budget films such as “The Sign of the Cross” in 1931 and in 1934 “The Count of Monte Cristo” opposite Robert Donat in his only Hollywood film. She retired from films in 1943. Elissa Landi died in New York in 1948 aged only 43.

Elissa Landi was born in Venice, Italy, on December 6, 1904. From childhood she was fascinated with the stage. As many little girls did at the time, Elissa wanted nothing more than to be a big star on the great stages of Europe. Her acting career started out at local theater companies, eventually leading her to the hallowed stages of London, where she made her debut in “The Storm.” The play lasted for five months and she received rave reviews for her performances. That in turn led to meaty leads in “Lavendar Ladies” and other plays. European film producers took notice of the photogenic beauty and Elissa starred in eight movies over the next two years. Her first film was the German-made Synd (1928). Her career didn’t impress critics, though, until she played Anthea Dane in The Price of Things (1930). Elissa felt that she would make more headway in the U.S., so she arrived in New York in 1931 to star in the stage version of “A Farewell to Arms.” Although the play made no huge impression, Hollywood sat up and took notice, and she soon appeared in Body and Soul (1931) opposite Charles Farrell. However, it wasn’t until Cecil B. DeMille‘s biblical epic The Sign of the Cross (1932) that many moviegoers got their first glimpse of Elissa, and they were enthralled, even though she was among such heavyweight stars as Claudette Colbert, Fredric March, Charles Laughton and Vivian Tobin. Completed in less than eight weeks, the film was a smash hit. After A Passport to Hell (1932) and Devil’s Lottery (1932), Elissa scored again in The Warrior’s Husband (1933), a film about the intrigues and intricacies of the old Roman Empire that starred Marjorie Rambeau and Ernest Truex. In 1934 Elissa co-starred withRobert Donat in the classic The Count of Monte Cristo (1934). The next year saw Elissa in an odd bit of casting as Lisa Robbia in Enter Madame! (1935) with Cary Grant, the era’s greatest leading man. Elissa was required to sing for this part, which she had difficulty doing (her voice was eventually dubbed by a professional singer) and also required her to throw temper tantrums, something else she found difficult to do and for which a double also was eventually used, all to no avail, as the film was a critical and financial flop. After a mediocre role in Mad Holiday (1936), Elissa had a better part as the tormented Selma Landis in the hit After the Thin Man (1936), the second film in the series. She appeared in only three movies after that, the last being the low-budget Corregidor (1943) for bottom-of-the-barrel Producers Releasing Corporation. When that picture was completed, Elissa left films behind and concentrated on writing, producing six novels and books of poetry. Elissa succumbed to cancer on October 21, 1948. She was just 43 years old.

– IMDb Mini Biography By: Denny Jackson

Entry by Denny Jackson on IMDB:

The above entry can also be accessed on IMDB online here.

Dolph Lundgren was born in 1957 in Stockholm in Sweden. He came to fame with the popularity of action heroes who were muscleed and fit and adept at martial arts. Sylvester Stallone, Chuck Norris, Jean Claude Van Damme, Steven Seagal and Arnold Schwarzenegger were all very popular at the same time. Lundgren has a degress in chemical engineering from the University of Sydney. He made his film debut in the James Bond thriller “A View to a Kill” in 1985. His other films include “Rocky Four”, “Showdown in Little Toyko” and more recently “The Expendables”.

Men’s Health Interview:

Critics have never

been kind to Dolph Lundgren. They’ve call him “grinning and glistening” when they’re trying to be nice, and “expressive as wood” when they’re not. “Watching (Lundgren) think hard is a painful experience,” noted aWashington Post review of 1989’s Red Scorpion. “May well be the only man in the universe who can make Mr. (Jean-Claude) Van Damme look like an actor,” a New York Times critic wrote of Lundgren in 1992’s Universal Soldier. Film academic Christine Holmlund, summing up Lundgren’s career in the 2004 book Action and Adventure Cinema, wrote “Lundgren is limited by his size and dead pan delivery: though often compared to Arnold (Schwarzenegger), he has less range.”

For someone who’s had such a difficult time convincing critics of his merit, he’s one of the few action stars who gets respect (and real fear) from his audience. In 2009, three armed and masked burglars broke into Lundgren’s home in Marbella, Spain, tied up his wife, and went about ransacking the place. But then one of them noticed a Lundgren family photo in the bedroom and recognized the action star. He alerted his cohorts, and they made the unanimous decision to flee the crime scene immediately. Apparently they were less concerned with Lundgren’s wooden acting than his ability to break their collective faces. Perhaps they were afraid of ending up like Apollo Creed, who Lundgren famously “killed” in the 1985 filmRocky IV.

To be fair, it’s not completely irrational to be terrified by Lundgren. As Roger Moore, who worked with Lundgren in the James Bond film View To a Kill, once said “Dolph is larger than Denmark.” That’s hyperbole, but just slightly. Lundgren, a native of Stockholm, Sweden, stands at a golem-like 6 foot 5 inches and weighs in at around 250 pounds of pure neck-snapping muscle. Oh, and he also has a black belt in Kyokushin kaikan karate. While filming Rocky IV, he punched Sylvester Stallone so hard that he sent Sly to intensive care for nine days. If that’s not intimidating enough, he’s also smart. Lundgren has a masters in chemical engineering from the University of Sydney, and speaks five languages (Swedish, English, German, French and Japanese). He also dated musician Grace Jones during the 1980s, hung out at the infamous den of disco iniquity Studio 54, and lived in New York City when it was fun and dangerous.

Lundgren’s life has admittedly sometimes been more interesting than his movies. But in recent years, Lundgren has been on the verge of something like a comeback. He was the most two-dimensional part of 2010’s all-star action epic The Expendables, and he returns for the sequel, The Expendables 2, this Friday, August 17. It may not be thought-provoking cinema, but Lundgren’s performance should keep his house safe from burglars for at least another year.

I called Lundgren as he was waiting in LAX to board a flight to Madrid, as part of his world Expendables 2 media tour. He was soft-spoken, humble, and quick to laugh, particularly at himself. In other words, the exact opposite of every movie character he’s ever played.

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Men’s Health: Expendables 2 has a lot of stars, and presumably a lot of egos. Did everybody get along?

Dolph Lundgren: Oh yeah. There was just a core group that worked together on most of the movie. It was Sly (Stallone) and me and Jason (Statham) and Terry (Crews) and Randy (Couture) and the Chinese guy, Jet Li. We were the ones working all the time. When guys like Bruce (Willis) and Arnold (Schwarzenegger) came in, it was just for a week or two. But everybody was excited to be part of a team and in a big movie. Some of these guys, like Chuck Norris, haven’t done a film in like seven years. So nobody came with big egos.

MH: Just big entourages?

DL: A few guys had that. They’d show up with a lot of people, especially Arnold and Chuck. Bodyguards and entourages, all that stuff.

MH: I understand the former Governator having bodyguards. But what does Chuck Norris need bodyguards for? I thought he could kill a guy with his pinkie.

DL: (Laughs.) I don’t know about that. Having bodyguards is just part of being famous, I think.

MH: How many bodyguards do you have?

DL: None.

MH: Because you don’t need them, or you could crack somebody’s spine just by staring at them?

DL: (Laughs.) I’m not that good.

MH: Among action stars, is there cheating?

DL: Cheating how?

MH: Like steroids. I talked to Charlie Sheen and he said he used steroids while he was making Major League. And that was a baseball movie.

DL: (Laughs.) That’s funny. Charlie took steroids? That’s probably the mildest form of drug he ever took. No, I like Charlie. I like him a lot. He’s a nice guy. But him saying he took steroids, that’s like me claiming I took aspirin. Anyway, what’s your question?

MH: Are steroids common in action movies? Part of the job requires having big, rippling, cinematic muscles. It must be tempting for some of these stars.

DL: Oh sure. It never was for me, because I was already a big guy when I started making movies. I didn’t need to be any bigger. So steroids didn’t make any sense. But if you’re a regular-sized actor and you’re in a movie where you’re supposed to be some pumped-up guy who takes his shirt off, yeah, steroids make sense.

MH: You’ve seen it?

DL: Well, I… (long pause.) I haven’t witnessed the injections personally. But I recognize when it’s happening. You know which guys are doing steroids and which ones aren’t.

MH: You can tell just by looking?

DL: Oh yeah. It’s pretty obvious. You can see the difference. There’s a soft roundness to steroid muscles that you don’t get when you’re lifting weights or doing martial arts or things like that. I don’t judge anybody. Everybody has their own life and people do what they want. It’s like smoking pot. If you experiment with it, it doesn’t mean you’re the devil, and it doesn’t mean you’ve ruined your body. It just means you tried it.

“Men;s Health” interview can also be accessed online here.

William Marshall was born in 1917 in Chicago. His first film was “Money and the Woman” in 1940. His films include “State Fair” in 1945, “Murder in the Music Hall”, “Blackmail” and “The Impure Ones”. He was married to three beautiful actresses, Michele Morgan, Micheline Presle and Ginger Rogers. He died in Paris in 1994.

His obituary in “The Los Angeles Times”:

G. William Marshall, an American actor and producer whose marriages to film stars probably made him better known than his dramatic career, has died, it was reported Saturday. Marshall, whose four wives included Ginger Rogers and Michele Morgan, died Wednesday, according to a legal notice placed by his family in the Parisian newspaper Le Figaro. The place and cause of death were not announced. He was believed to be 76. Other information was not available. The announcement was placed by Mike Marshall, his son by Morgan, his first wife, and Tonie Marshall, his daughter by his second wife, actress Micheline Presle.

The onetime vocalist with the Fred Waring orchestra was also married to Rogers and actress Corinne Aboyneau and was a friend of Clark Gable, Errol Flynn and Marilyn Monroe. He became Rogers’ fifth husband in 1961 in a North Hollywood church ceremony. He recounted his professional and marital life in his 1983 memoirs, “The Sixth Season.” Morgan took him to court to have intimate passages about their life together removed from the book. Born in Chicago, Marshall started his career with Waring in 1936. The next year, Marshall was leading his own band, and he began making film appearances in 1940 with “Flowing Gold” and “Santa Fe Trail.” His credits are often confused with those of another actor of the same name, who has appeared in films since the early 1950s. Marshall’s other acting credits include “Belle of the Yukon” in 1944; “State Fair” in 1945; “Murder in the Music Hall,” “Earl Carroll Sketchbook” and “That Brennan Girl,” all in 1946, and “Calendar Girl” and “Blackmail” in 1947. Marshall directed and produced “Adventures of Captain Fabian” in 1951, and he directed “The Phantom Planet” in 1961.

This obituary can also be accessed online here.

Bradford Dillman was born in San Francisco in 1930. After graduation he joined the United States Marine Corp. He was given a contract with 20th Century Fox and cast as the lead in “A Certain Smile” with Joan Fontaine and Christine Carere. Other films at this time included “Compulsion” with Orson Welles, “In Love and War” with Robert Wagner, Dana Wynter and France Nuyen. He matured into a very capable characted actor and made many films including “Sudden Impact” and “The Way We Were”. He was also a frequent guest star on television. He was long married to the top model and actress Suzy Parker until her death in 2003. “Cinema Retro” interview with Bradford Dillman here.

His IMDB entry:

Dark-haired, Ivy League-looking Bradford Dillman, whose white-collar career spanned nearly five decades, possessed charm and confident good looks that were slightly tainted by a bent smile, darting glance and edgy countenance that often provoked suspicion. Sure enough, the camera picked up on it and he played shady, highly suspect characters throughout most of his career.

The actor was born in San Francisco on April 14, 1930, to Dean and Josephine Dillman. Yale-educated, he graduated with a B.A. in English Literature. Following this he served with the US Marines in Korea (1951-1953) before focusing on acting as a profession. Studying at the Actors Studio, he spent several seasons apprenticing with the Sharon (CT) Playhouse before making his professional acting debut in “The Scarecrow” in 1953.

Dillman took his initial Broadway bow in Eugene O’Neill‘s play “Long Day’s Journey Into Night” in 1956, originating the author’s alter ego character Edmund Tyrone and winning a Theatre World Award in the process. This success put him squarely on the map and 20th Century-Fox took immediate advantage by placing the darkly handsome up-and-comer under contract. Cast in the melodrama A Certain Smile (1958), he earned a Golden Globe for “Most Promising Newcomer” playing a Parisian student who loses his girl (Christine Carère) to the worldly Italian roué Rossano Brazzi. He followed this with a strong ensemble appearance in In Love and War (1958), which featured a cast of young rising stars including Hope Lange and Robert Wagner. More acting honors followed after completing the film Compulsion (1959), which told the true story of the infamous 1920s kidnapping/murder case of Nathan Leopold and Richard Loeb. He went on to share a “Best Actor” award at the Cannes Film Festival with fellow co-stars Dean Stockwell, who played the other youthful murderer, and veteran Orson Welles.

Though he was a magnetic player poised for stardom, Dillman’s subsequent films failed to serve him well and were generally unworthy of his talent. Though properly serious and stoic as the title character in Francis of Assisi (1961), the film itself was stilted and weakly scripted. A Circle of Deception (1960) was a misguided tale of espionage and intrigue, but it did introduce him to his second wife, supermodel-cum-actress Suzy Parker. While A Rage to Live (1965) with Suzanne Pleshette was trashy soap material,The Plainsman (1966) was rather a silly, juvenile version of the Gary Cooper western classic. As a result of these missteps–and others–he began to top-line lesser quality projects or play supporting roles in “A” pictures. His nothing role as Robert Redford‘s college pal-turned Hollywood producer in The Way We Were (1973) and his major roles in the ludicrous The Swarm (1978) and Lords of the Deep (1989) became proof in the pudding. His last good film role was in O’Neill’s The Iceman Cometh (1973), although he did play an interesting John Wilkes Booth in the speculative re-enactment drama The Lincoln Conspiracy (1977) and had a fun leading role in the Jaws (1975)-like spoofPiranha (1978).

Dillman bore up very well on TV over the years, subsisting on a plethora of mini-movies and guest spots on popular series, playing everything from turncoats to frauds and from adulterers to psychotics. He earned a Daytime Emmy for his appearance in The ABC Afternoon Playbreak: Last Bride of Salem (1974) and starred in two series–Court Martial(1965), as a military lawyer, and King’s Crossing (1982), as an alcoholic parent and teacher attempting to straighten out. He also spent a season on the established nighttime soap Falcon Crest (1981) in 1982.

He is the father of five children. One daughter, Pamela Dillman has worked as an actress, narrator, director and teacher of acting. Bradford launched a late-in-the career sideline as an author. The football fan inside him compelled him to write “Inside the New York Giants” (1995), a book that rated players drafted by the team since 1967. Two years later he published his memoirs, the curiously-titled “Are You Somebody?: An Actor’s Life.” He hasn’t been seen on since a few guest star shots on “Murder, She Wrote” in the mid-90s.

– IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

This IMDB entry can also be accessed online here.

Original Cinema Quad Poster – Movie Film Posters

Bradford Dillman (Wikipedia)

His IMDB entry:

– IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

This IMDB entry can also be accessed online here.

New York Times obituary in 2018.

Bradford Dillman, a Broadway and film actor known for his roles in the original Broadway production of “Long Day’s Journey Into Night” and the movie “Compulsion,” died on Jan. 16 in Santa Barbara, Calif. He was 87.

His manager, Ted Gekis, said the cause was complications of pneumonia.

Mr. Dillman began acting professionally in 1953 and had his breakthrough three years later in “Long Day’s Journey,” playing Edmund Tyrone, the peacekeeping younger brother in a deeply dysfunctional family. The director, José Quintero, picked him out of 500 applicants, The New York Times reported in 1959.

It was a very different role from the dark characters he would become known for, but it earned him a 1957 Theater World Award and a contract with 20th Century Fox.

In 1959, Mr. Dillman won a Golden Globe for most promising newcomer, starring that year with Orson Welles and Dean Stockwell in “Compulsion,” a film based on the Leopold and Loeb murders in Chicago.

In the movie, Mr. Dillman portrayed Artie Straus (a stand-in for the real-life Richard Loeb), an arrogant law student from a socially prominent family who persuades a classmate (Mr. Stockwell) to help him commit the perfect crime as a demonstration of their superior intellect.

It would become one of his best-known performances.

“Bradford Dillman emerges as an actor of imposing stature as the bossy, over-ebullient and immature mama’s boy, Artie,” A. H. Weiler wrote in a Times review.

Mr. Dillman, Mr. Stockwell and Mr. Welles shared best actor honors at the Cannes Film Festival.

In an interview with The Times shortly after “Compulsion” was released, Mr. Dillman gave some insight into his acting philosophy, criticizing what he called “ ‘the beat’ acting style.” He said it made a mockery of the Actors Studio and Lee Strasberg’s Method.

“To me this much-touted new ‘technique’ is a reversion to the animalistic, a declaration of spiritual bankruptcy, a shedding of hard-won civilized sentiments like tenderness, honor, self-respect, loyalty, friendship, love,” he said. “All this glaring out at the world from beneath furrowed brows, these shufflings and shamblings and evasivenesses, the self-hate projections, the affected stammerings and word repetitions and vowel swallowings. To me these are ridiculous, infantile.”

The Times’s Lawrence J. Quirk quoted him approvingly and wrote: “Dillman is an individualist and a breaker of rules. He dares to dress neatly. He dares to be a gentleman. He scorns white buckskins, clean or dirty. He doesn’t scratch. He doesn’t mumble. He doesn’t spout phrases like ‘gas it, man!’ He doesn’t hate himself. He isn’t lonely.”

Bradford Dillman was born in San Francisco on April 14, 1930, to Dean Dillman, a stockbroker, and the former Josephine Moore. After attending St. Ignatius High School in San Francisco, he went cross-country to enroll in the Hotchkiss School in Connecticut, where he performed in school plays before graduating and entering Yale.

He continued to act in amateur productions as a student at Yale and, during summer breaks, in Santa Barbara, Calif., where his parents lived. He earned a degree in literature from Yale in 1951. After graduation, he served in the Marines during the Korean War. He was discharged with the rank of first lieutenant in 1953.

After his military service he turned down a scholarship to attend the Royal Academy of Dramatic Arts in London when he was offered a role in an Off Broadway production.

His acting career was prolific, with at least 140 film and television credits. He rarely turned down a job.

He had children, he said, “and had to put food on the table,” he told Variety in 1995, calling himself “a Safeway actor.”

Mr. Dillman played prominent roles in “The Enforcer” and “Sudden Impact,” the third and fourth films in the “Dirty Harry” series, and won a Daytime Emmy Award in 1975 for his work on the TV series “The ABC Afternoon Playbreak.”

In 1973, he returned to Eugene O’Neill’s work, playing Willie Oban in a film adaptation of “The Iceman Cometh.” He also acted occasionally on the TV series “Murder, She Wrote,” starring Angela Lansbury, a friend.

Offscreen, Mr. Dillman was a writer of both fiction and nonfiction. His books include “Inside the New York Giants” (1995) and “Dropkick: A Football Fantasy” (1998), as well as the novels “That Air Forever Dark” (2001) and “Kissing Kate” (2005). He also wrote a memoir, “Are You Anybody? An Actor’s Life” (1997).

Mr. Dillman was married twice: to Frieda Harding McIntosh from 1956 to 1962, and to Suzy Parker, a model and actress, from 1963

Carol Lynley obituary in “The New York Times” in 2019.

Carol Lynley a child model who went on to an intense film acting career mirroring the country’s transformation from the modest Eisenhower era into the sexually frank 1960s, died on Tuesday at her home in Los Angeles. She was 77.

The cause was a heart attack, according to Trent Dolan, a friend.

Ms. Lynley may be best remembered as the naïve, soft-spoken adolescent who becomes pregnant by her equally wide-eyed boyfriend, played by Brandon De Wilde, in the 1959 film “Blue Denim.” It was a role she had originated on Broadway the year before, when she was 16.

Ms. Lynley made at least half a dozen high-profile Hollywood movies over the next eight years, but by the time she was in her mid-20s her star had faded and she was never solidly in the public eye again.

Still, she did make a notable if brief comeback in 1972, when she turned up wearing hot pants and go-go boots in the disaster movie “The Poseidon Adventure,” singing (or at least lip-syncing) the Oscar-winning song “The Morning After.”

Her career may have been, at least partly, a victim of unfortunate marketing. In the late 1950s and early ’60s, Hollywood’s publicity machine had three blond teenage actresses to promote. In a case of extreme image segmentation, Sandra Dee was promoted as the pampered rich girl, Tuesday Weld as the bad girl and Ms. Lynley as the good girl — studious, sensitive, wholesome and just a bit prim.

Hound-dog Man, poster, US poster art, from left: Carol Lynley, Fabian, (aka Fabian Forte), 1959. (Photo by LMPC via Getty Images)

This worked well enough with the characters she played in her debut film, the Disney drama “The Light in the Forest” (1958), set in pre-Revolutionary America; in “Blue Denim”; and in “Hound-Dog Man” (1959), in which she starred opposite the teenage idol Fabian. But beginning when she was 19, Ms. Lynley turned to portrayals of more knowing characters, like the small-town author Allison MacKenzie, who has an affair with her publisher, in “Return to Peyton Place” (1961), a disappointing sequel. That film was followed by a sex comedy, “Under the Yum Yum Tree” (1963), with Jack Lemmon and Dean Jones, and by the drama “The Cardinal” (1963), in which she played both Tom Tryon’s wayward sister and her character’s daughter.

She was 23 when she posed discreetly nude in Playboy magazine and played the title role in “Harlow” (1965), a biographical film about the 1930s screen star and sex symbol Jean Harlow. That same year, she won some positive reviews as a distraught young mother in Otto Preminger’s “Bunny Lake Is Missing,” but neither critics nor fans responded to her in the same way as they had during her teenage years.

From the 1970s onward, Ms. Lynley worked mostly in television, doing guest appearances on various shows (she was in the original television film “Fantasy Island” and in at least 10 episodes of the series that it spawned, as well as the television film that later became the Darren McGavin series “Kolchak: The Night Stalker”) and in low-profile movies, some of the straight-to-vid

Brenda Vaccaro TCM Overview

Brenda Vaccaro was born in Brooklyn, New York in 1939 to parents of Italian origin. She began her acting career on Broadway and starred in “Cactus Flower” with Lauren Bacall and Barry Nelson in 1965. She made an impact on film in 1969 along with Dustin Hoffman and Jon Voight in the wonderful “Midnight Cowboy”. She went on to an impressive film career. Her films include “Summertree” with Michael Douglas, “Once is Not Enough” with Kirk Douglas and Alexis Smith in 1975 and more recently she gave a very sensitive performance in “The Boynton Beach Club”.

Her TCM Biography:

A husky-voiced actress who segued from beautiful leading lady to earthy character parts, Brenda Vaccaro enjoyed success in a variety of mediums. She earned three Tony nominations for her stage work in the 1960s, won a Golden Globe nomination for her role as a socialite paying Jon Voight for sex in “Midnight Cowboy” (1969), and an Oscar nomination for “Jacqueline Susann’s Once Is Not Enough” (1975). Although she was an accomplished dramatic actress, audiences embraced her most as a wisecracking second banana to everyone from Faye Dunaway in “Supergirl” (1984) to Barbra Streisand in “The Mirror Has Two Faces” (1996), as well as an in-demand voiceover actress.

The Emmy-winning Vaccaro earned an impressive array of TV credits as well, but found it harder to book jobs as she grew older. She did earn excellent reviews with the lead role in the gentle romantic comedy “Boynton Beach Club” (2005) and for a brilliant supporting turn as Al Pacino’s sister in the Dr. Kevorkian biopic, “You Don’t Know Jack” (HBO, 2010). Even 50 years into her career, Vaccaro remained a vital, formidable actress with the training and talent to deliver award-caliber performances – if Hollywood would only give the veteran performer the chance.

Born Nov. 18, 1939 in Brooklyn, NY to Christine M. and Mario A. Vaccaro, a pair of Italian-American restaurateurs, Brenda Buell Vaccaro was raised in Texas, where her parents co-founded the nationally-renowned Mario’s Restaurant. After high school, Vaccaro returned to New York City to study acting, making her Broadway debut in the 1961 comedy, “Everybody Loves Opal,” for which she won the Theatre World Award. Pairing her unmistakable husky voice with her acting talent, Vaccaro immediately stood out to critics and fans alike, and she earned a long string of Broadway credits, including “Cactus Flower” in 1965, “How Now, Dow Jones” in 1967, and “The Goodbye People” in 1968 – earning a Tony nomination for each of those roles.

Already the owner of a lengthy television résumé, her breakthrough in film came with the controversial hit “Midnight Cowboy” (1969), for which she earned a Golden Globe nomination playing a sexually voracious socialite who helps Jon Voight start up his male hustling business. She also earned a Golden Globe nomination for Most Promising Newcomer with her role of a sharp-witted secretary in “Where It’s At” (1969).

She ably supported Robert Mitchum as his sweetheart in the powerful but downbeat “Going Home” (1971), then won an Emmy for her performance in the revue by and about women, “The Shape of Things” (1974). After four years away from the big screen, Vaccaro roared back with a Golden Globe-winning, Oscar-nominated turn as wisecracking magazine editor Linda Riggs in “Jacqueline Susann’s Once Is Not Enough” (1975).

She tackled the tough role of a woman battling a gang of Canadian punks intent on rape in the dark, but cerebral horror thriller, “Death Weekend” (1976) and then earned an Emmy nomination for the short-lived “Sara” (CBS, 1975-1976), about a frontier schoolteacher. Vaccaro played James Brolin’s wife in the NASA conspiracy thriller “Capricorn One” (1977) – for which she earned a Best Supporting Actress Saturn Award nomination – and a threatened passenger in the cheesy-but-effective disaster smash, “Airport ’77” (1977).

Vaccaro worked constantly and successfully in all genres, but comedy was her forte, and she marked memorable turns as a villain’s sexually frustrated wife in “Zorro, the Gay Blade” (1981) and as Faye Dunaway’s wisecracking fellow witch in “Supergirl” (1984). She impressed even in subpar material, perfecting the art of stealing a project from the supporting sidelines. She chewed up scenery to delightful effect as top teen model Nicollette Sheridan’s stage mother/manager in the campy Morgan Fairchild nighttime soap, “Paper Dolls” (ABC, 1984).

Fleshing out her résumé with impressive guest-starring TV credits, Vaccaro kept busy, earning an Emmy nomination for an appearance on “The Golden Girls” (NBC, 1985-1992), as the widow of Dorothy’s cross-dressing, never-seen brother. The actress continued to be an in-demand second banana, ably sparring with Valerie Harper in “Stolen: One Husband” (CBS, 1990) and Ann-Margret in “Following Her Heart” (NBC, 1994), before playing the mother of J y (Matt LeBlanc) in “The One with the Boobies” episode of “Friends” (NBC, 1994-2004).

Besides a small role in “Love Affair” (1994) with Warren Beatty, Annette Bening and Katharine Hepburn (in the latter’s last screen performance), Vaccaro continued to lend her trademark raspy voice to numerous animated TV projects. Whether or not they could identify her by name, millions of children had grown up hearing Vaccaro voice characters on everything from “Nestor, the Long-Eared Christmas Donkey” (ABC, 1977), “The Smurfs” (NBC, 1981-89), “The Jetsons Meet the Flintstones” (syndicated, 1987), “Darkwing Duck” (ABC, 1991-92) to “The Critic” (ABC, 1994; FOX, 1995), “Johnny Bravo” (Cartoon Network, 1997-2004) and “American Dad!” (FOX, 2005- ). She essayed great humor and vulnerability on the big screen as Barbra Streisand’s frumpy best friend in the Oscar-nominated hit, “The Mirror Has Two Faces” (1996), in which she had to deal with feelings of abandonment when Streisand transforms from ugly duckling to swan.

A role that ech d her “Midnight Cowboy” success, Vaccaro earned good notices for a sweetly delusional customer of male prostitute James Franco in “Sonny” (2002), as well as for the lead role in the kind-hearted ensemble comedy, “Boynton Beach Club” (2005), which followed the lives and loves of a group of senior citizens in a Florida retirement community. Vaccaro played both tough and tender as a woman who is unexpectedly widowed when a neighbor (Renée Taylor) accidentally runs over her husband; she then must deal with her family and friends’ attempts to help her recover. Despite the vivid proof of her ability, Vaccaro, like many aging actresses, found it difficult find work in later years.

Although she was still able to notch the occasional prominent credit, like an episode of “Nip/Tuck” (FX, 2003-10), the offers slowed to a trickle, and she considered quitting show business completely and moving to France to be near her husband’s family. Luckily, fate conspired to put Vaccaro on the radars of the production team making “You Don’t Know Jack” (HBO, 2010), a pedigreed film about the life and career of controversial doctor-assisted-suicide advocate, Jack Kevorkian. Director Barry Levinson and star Al Pacino – who was an old theater buddy of the actress and at one time had shared a manager with her – were both fans of Vaccaro’s work, and she landed the role of Kevorkian’s protective sister, Margo Janus. Reviewers raved about the film, especially about Vaccaro’s performance, predicting she would be shortlisted for all the top awards. She was indeed nominated for an Emmy for Outstanding Supporting Actress in a Miniseries or Movie in 2010. Critics and fans alike hoped that it would be a turning point for the actress, and she would find herself as in-demand as her talent – regardless of her age – deserved.

The TCM biography can also be accessed online here.

Chad Everett obituary in “Los Angeles Times”.

Chad Everett is a ruggedly handsome actor who played young Dr. Joe Gannon on the TV drama “Medical Center,” has died. He was 75.

Everett died Tuesday at his home in the Los Angeles area after battling lung cancer, his daughter Katherine Thorp told the Associated Press. Everett’s wife of 45 years, actress Shelby Grant, died of an aneurysm in June 2011 at 74.

Although Everett had a range of TV and movie roles over a career that began in the early 1960s, he made a lasting impression as Dr. Gannon on “Medical Center.” The dramatic series aired on CBS from 1969 to 1976 and followed the personal and professional lives of the staff at a teaching hospital in Los Angeles.

“Understatement is apparently a highly salable commodity on TV,” a Washington Post reporter wrote in a 1975 article on male stardom. “Chad Everett, a big city type, seldom stoops to histrionics as he lethargically makes his rounds on ‘Medical Center.’ ”

Everett arrived in Hollywood from the Midwest. He was born Raymond Lee Cramton in South Bend, Ind., on June 11, 1937, and grew up in Dearborn, Mich., where his father was a race car driver and racing mechanic. He studied drama at Wayne State University in Detroit.

“I went into acting because I’m easily bored,” Everett told The Times in 1966, several years after he had changed his name for professional reasons. “I had tried — in my own juvenile way — music, football, business with my father. All of them bored me. Acting seemed to give vent to a lot of different feelings.”

He landed jobs on episodic TV shows beginning in 1961 and then won a featured role on the TV western “The Dakotas” in 1963.

He signed a contract with MGM in 1964 and appeared in “Made in Paris” with Ann-Margret and “The Singing Nun” with Debbie Reynolds in 1966.

Everett worked steadily in television before and after “Medical Center,” appearing as a regular in “Hagen,” “The Rousters,” “McKenna,” “Melrose Place,” “Manhattan, AZ” and as recently as last year on “Chemistry,” a USA network drama.

His movie roles included parts in “Airplane II: The Sequel” (1982), the 1998 remake of”Psycho”and “Mulholland Dr.” (2001).

Everett was taken to court three times by actress Sheila Scott, who claimed he was the father of her son Dale, who was born in 1973. The long-running paternity dispute ended in 1981 when a Los Angeles County Superior Court jury ruled in favor of Everett, who steadfastly denied the claims.

In addition to Thorp, he is survived by his other daughter, Shannon Everett, and six grandchildren.

TCM Overview:

A masculine leading man on television and in the occasional feature during the late 1960s and 1970s, Chad Everett rose to fame as a young doctor on the popular drama “Medical Center” (CBS, 1969-1976) before enjoying a long career as a series lead and guest player on the small screen for over four decades. Everett left the Midwest in 1960 for Hollywood, where he enjoyed a minor career as a youthful romantic lead in modest features like “Made in Paris” (1966) and “The Singing Nun” (1966). “Medical Center,” which partnered him with James Daly as surgeons at a Los Angeles university hospital, thrust him into stardom, but he never found a subsequent project that equaled its popularity. However, Everett remained a constant presence on television well into the new millennium, playing gracefully aging fathers, stern authority figures and even the occasionally mature romantic role. Though never a critical favorite nor highly lauded for his work, Chad Everett was a dependable performer, which granted him a rarity in show business â¿¿ steady work for over a half-century.

Viveca Lindfors was born in Uppsala, Sweden in 1920. She became a theatre and film star in her native country before coming to Hollywood in 1946. She starred with Ronald Reagan and Virginia Mayo in “Night unto Night”, with Margaret Sullavan in “No Sad Songs for Me” and wih Charlton Heston and Lizabeth Scott in “Dark City”. By the mid 50’s she was make in Europe making films there. She did return on occasion to the U.S. to make films e.g. in 1965 in “Sylvia” with Carroll Baker and in 1973 in “The Way We Were” with Robert Redford and Barbra Streisand. In 1994 she was back in the U.S. again making “Stargate”. Viveca Lindfors died in her home town in Sweden in 1995 at the age of 74.

Her “Los Angeles Times” obituary:

Viveca Lindfors, the sultry Swedish screen and stage actress who delighted Hollywood and Broadway with her liberated lifestyle as well as her acting and in her later years became known for her one-woman shows, died Wednesday. She was 74.

Miss Lindfors died of complications from rheumatoid arthritis in her native Uppsala, Sweden, her daughter, Lena Tabori of New York City, told The Times on Wednesday.

Tabori said her mother, who lived in Manhattan, had been in Sweden to do her one-woman production, “In Search of Strindberg.” She said Miss Lindfors had regretted being unable to attend the Los Angeles Film Festival for the screening of her most recent film, “Summer in the Hamptons,” which is scheduled for release next month. Miss Lindfors appeared in scores of films, plays and television shows over more than half a century, still turning on the charm as her hair grayed.

When the enduring actress toured her one-woman show “I Am Woman” at age sixtysomething, a Times theater critic wrote: “[She] retains a magical, casually battered and untended beauty. When she smiles, the world lights up. There is strength, but also tenderness in the sculptured, kittenish face. Grit, hauteur and dignity are all part of the svelte persona. This is a woman telling us she’s been through it all and, my dear, she’s still here.” Married and divorced four times, Miss Lindfors often earned attention for her sexual politics and lifestyle as well as for her work. She described her colorful life to critical acclaim in a 1981 autobiography, “Viveka . . . Viveca.” One of the vignettes in the book humorously describes her, at the age of 54, refereeing a squabble between her 5-year-old granddaughter and a 61-year-old suitor concerning who would get to sleep with grandmother that night. “I was wild. I was ahead of my time in feeling sexual liberation,” she candidly told The Times in 1975. “I married my first husband because the gossips said no man would ever want to marry anyone as promiscuous as I was.”

The tall and talented brunette beauty, born Elsa Viveca Torstensdotter Lindfors in Uppsala, trained at Stockholm’s Royal Dramatic Theater and appeared in several Swedish films and plays before moving to Hollywood in 1946 under contract to Warner Bros. She made her Hollywood debut in “To the Victor” in 1947.

The actress relocated to New York in 1952 for her Broadway breakthrough role as “Anastasia,” and because of what became her longest marriage (18 years), to playwright-director George Tabori.

Miss Lindfors commuted between the coasts for decades, never equaling the stardom of her Swedish role models Ingrid Bergman and Greta Garbo, yet always finding producers eager to hire her and audiences willing to enjoy her work. Among her memorable Broadway plays along with “Anastasia” were “Miss Julie” in 1955, “Brecht on Brecht” in 1961, and her later one-woman shows. She won acting honors at the Berlin Film Festival for the feature films “Four in a Jeep” in 1951 and “No Exit” in 1962. Her myriad other films include “No Sad Songs for Me,” “Moonfleet,” “The King of Kings,” “The Way We Were,” “Welcome to L.A.,” “Creepshow” and last year’s “Stargate.” Unlike many beautiful actresses, Miss Lindfors worried little about aging, even when Tabori left her for a much younger woman. “Any qualms I might have had about advancing years were dispelled a long time ago when I decided not to be put down by America’s worship of youth,” she told The Times on her 53rd birthday.

Miss Lindfors is survived by her daughter; two sons, John Tabori of Washington, D.C., and Kristoffer Siegel Tabori of Los Angeles, and four grandchildren. Memorial services will be planned early next year in New York and Sweden, Lena Tabori said.

The above obituary can also be accessed online here.