June Havoc

June Havoc was born in Vancouver in 1910. She was the sister of Gypsy Rose Lee. Her films include “Four Jacks and a Jill” in 1942, “Gentleman’s Agreement” in 1947 and “Can’t Stop the Music” in 1980 which starred Village People. She died at the age of 97 in Connecticut.

Gary Brumburgh’s entry:

Musical theater devotees will undoubtedly know that the song “Let Me Entertain You” was from the classic musical “Gypsy”, the born-in-a-trunk story of resilient kid troopers Gypsy Rose Lee and June Havoc who were mercilessly pushed into vaudeville careers by an unbearably headstrong mother. While the lesser-talented Gypsy, of course, became the legendary ecdysiast who turned stripping into an art form, sister June survived her “Baby June” vaudeville child days of old and the tougher road of Depression-era dance marathons to become a reputable actress of stage, screen and TV, among other things. While June may have immortalized in “Gypsy,” based on her older sister’s memoirs, it was a bittersweet notoriety as she felt it was a very unjust, hurtful and highly inaccurate portrait of her. It also caused a deep rift between the sisters that lasted for well over a decade.

The Canadian-born actress (she was born in Vancouver, not Seattle) entered the world in 1912 (some sources insist 1913 or 1916, but Havoc confirmed her true birth date in 2006), the younger daughter of audacious “stage mother” Rose Thompson Hovick and her husband, John Olaf Hovick, a cub reporter for a Seattle newspaper. Baby June was primed for stardom by Rose by age 2 and was soon dancing with the great ballerina Anna Pavlova and appearing in Hal Roach film shorts (1918-1924) with Harold Lloyd. A flexible, high-kicking vaudeville sensation at 5, she was featured front-and-center in an act completely built around her (“Dainty June and Her Newsboys”). Earning around $1,500 a week at her peak, the delightful child star had audiences eating out of the palm of her little hand while sharing the stage with the likes of “Red-Hot Mama” Sophie Tucker and “Baby Snooks” Fanny Brice. The unrelenting pressures and suffocating dominance of her mother, however, led to a capricious elopement at age 13 with a young boy from the act (Bobby Reed, who inspired the dancing character of Tulsa in “Gypsy”). They married in North Platte, Nebraska with each lying about their age. By the time the Depression hit, however, vaudeville, the nation’s economy and her marriage had all collapsed.

Now a mother of a young daughter, April (born out of wedlock in 1930, April Kent acted briefly in the 1950s and died of a heart attack in 1998), June made ends meet by modeling, posing and toiling in dance marathons. The blonde, blue-eyed stunner also found work in stock musicals and on the Borscht Belt circuit. She made her Broadway debut in the musical “Forbidden Melody in 1936”. Years passed before she earned her big break as Gladys in Rodgers and Hart’s classic musical “Pal Joey” opposite Van Johnsonand Gene Kelly in 1940. As a result of their scene-stealing work, the trio earned movie contracts – the two men heading off to the MGM studio and June to RKO.

Unlike her male counterparts, June found herself inextricably caught up in “B” level material. Her film debut in the war-era Four Jacks and a Jill (1942) was followed by the equally ho-hum Powder Town (1942) and Sing Your Worries Away (1942), neither requiring much in the line of acting. Her personality was big for the screen due to her broad vaudeville background, but she nevertheless could show some true grit and talent on occasion, particularly with her support role in My Sister Eileen (1942).

For the next few years she experienced both highs and lows. Her Broadway shows were either hits, such as the musical “Mexican Hayride” (1944) (for which she won the Donaldson Award), and the dramatic “The Ryan Girl” (1945), or complete misses, which included a musical version of the Sadie Thompson saga Rain. June’s film acting continued to be a stumbling block, scoring best when asked to play brassy, cynical dames. While she fared well as the femme fatale in Intrigue (1947), the racist secretary in Gentleman’s Agreement (1947), and the gun moll The Story of Molly X (1949), more often than not, she was handed second-rate fodder to flounder in such as The Iron Curtain (1948), Once a Thief (1950) and Follow the Sun (1951). She appeared on TV in the early 50s, and she received her own short-lived vehicles as a lawyer in Willy (1954) and as host of her own show The June Havoc Show (1964).

After completing her last film Three for Jamie Dawn (1956), June refocused on stage and TV – particularly the former. She earned some of her best reviews both here and abroad in later years: Titania in “A Midsummer Night’s Dream,” Mistress Sullen in “The Beaux’ Stratagem,” Sabina in “The Skin of Our Teeth,” Millicent in “Dinner at Eight,” Jenny in “The Threepenny Opera,” Mrs. Swabb in “Habeas Corpus,” and Mrs. Lovett in “Sweeney Todd”. In 1982 she pulled out all the stops on Broadway and gave a real Rose’s Turn as a Miss Hannigan replacement in “Annie”.

June expanded her talents to include both playwriting and directing. In addition to “I Said the Fly,” she wrote “Marathon ’33” (based on her Depression-era struggles) and received a 1964 Tony nomination for directing the play. June became the artistic director of the New Orleans Repertory Theatre in 1970, and later went on tour with her own one-woman show “An Evening with June Havoc”. On stage and broaching age 80, the never-say-die actress appeared 8in a production of “Love Letters” and “An Old Lady’s Guide to Survival”.

June’s mid-career biography “Early Havoc” was published in 1959. Married three times (her last husband, producer/director/writer William Spier died in 1973), June was long estranged from her sister, none too happy with Gypsy’s portrayal of her in the best-selling memoir, “Gypsy” and equally dismayed of her Baby June character in the smash musical hit. The girls, noted for their trademark elongated faces and shapely gams, were estranged as children as well, but eventually patched things up for a time as adults. The sisters didn’t truly grow close until Gypsy told June that she was dying of lung cancer in 1970. June elaborated more about her relationship with her sister in her second autobiography, “More Havoc” in 1980.

Ms. Havoc died peacefully on March 28, 2010, at her home in Stamford, Connecticut of natural causes. She was 97 years young.

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

Johnnie Ray was born in 1927 in Oregon. He was very popular vocalist in the early 1950’s with a string of hits on both sides of the Atlantic. He had a starring role in the movie “There’s No Business Like Show Business” with starred Ethel Merman, Marilyn Monroe and Mitzi Gaynor in 1954. He died in 1990 at the age of 63.

IMDB entry:
One of the greatest of the transition singers between the crooners and the rockers, Johnnie Ray was the only son of Elmer and Hazel Ray. After partially losing his hearing in a youthful accident, he began singing locally in a wild, flamboyant style, unlike any other white singer up to that time, that eventually made him an international sensation. His early songs, such as, the two sided multi million seller, “Cry”/ “The Little White Cloud ThatCried”, were major hits. In 1954,he co starred alongside Marilyn Monroe, Donald O’Conner, Dan Dailey, Mitzi Gaynor and Ethel Merman in the big screen musical “There’s No Business Like Show Business”(1954). Following up on his previous recording success,in 1952,he had a #4 US Pop hit with, the 1930 standard, “Walkin’ My Baby Back Home”. In 1954, he covered The Drifters’ R n B hit “Such A Night”, peaking at #18 US Pop. In 1956, he had an early Rockabilly hit with “Just Walkin’ In The Rain”, a million seller that rose to #2 US Pop. His brushes with the law and openness, at that time,regarding his homosexuality, may have contributed to a decline in popularity in The US. He had a comeback in The US, in the 1970s, with TV appearances on “The Andy Williams Show” and “The Tonght Show With Johnny Carson” He remained popular in the UK and Australia until his death.

– IMDb Mini Biography By: <anthony-adam@tamu.edu>/efffee@aol.com

Tribute from “Irish Times” by Jessica Traynor in 2019.

Barry Fitzgerald was a man with a talent for creating conundrums for the good people at the Academy. Not only did he cause an upset by being nominated in both the Best Actor and Best Supporting Actor categories for the role of Fr Fitzgibbon in Going My Way in 1944 (he won in the latter category), he also managed to decapitate his Oscar statuette with a golf club not long afterwards.

Fitzgerald’s win was the last time the same person would be nominated for two Oscars for these two categories – the Academy would change the rules the following year. After wartime metal shortages ceased and Oscar statuettes reverted from their temporary gold-sprayed plaster construction to their usual gold-plated bronze, it wouldn’t be so easy to decapitate them while practicing your swing. The reasons for the accident are probably best summed up by Fitzgerald’s own attitude to golf: “A golf course is nothing but a pool room moved outdoors”.

Fitzgerald was born William Joseph Shields in 1888 in Portobello. His family were Church of Ireland, and his father Adolphus was a compositor, a trade union organiser, and was instrumental in setting up the first Fabian Societybranch in Ireland. His wife Fanny (née Ungerland) was originally from Hamburg, and came to Ireland in search of a less restrictive society. The couple had seven children and education and culture were valued in the household. Shields attended Skerry’s College and joined the civil service in 1911.

Shields’s brother Arthur, younger than him by eight years, began taking acting classes in the Abbey in 1913, graduating to larger roles by 1914 when the Abbey’s first company were touring abroad. Bored with his civil service job but not yet ready to let go of the steady income – “It was an easy job, full of leisure” – Fitzgerald decided to try his hand at acting too. Small of stature and with excellent comic timing in contrast to Arthur’s taller physique, the brothers had different styles and were rarely in direct competition. Nevertheless, William decided to change his name to Barry Fitzgerald, which as in part to shield his moonlighting as an actor from his bosses at the Department of Industry and Commerce. He would maintain his day job alongside acting roles until 1929.

The highlight of Fitzgerald’s early acting career was his definitive Captain Jack Boyle, played opposite Sara Allgood’s Juno and FJ McCormick’s Joxer Daly in the 1924 debut of Sean O’Casey’s Juno and the Paycock. Interestingly, Arthur Shields played his son, Johnny Boyle, a suspension of disbelief that must have owed much to Fitzgerald’s skilled physical performance as the ageing, blowhard “captain”. Fitzgerald was a friend of O’Casey’s, and took up the role of Fluther Good in the premiere of The Plough and the Stars in 1926. It was a great success, but not without controversy. An Irish Times report of February 15th, 1926 records an incident where several young men (termed “gunboys” by the paper) turned up at Fitzgerald’s mother’s house, hoping to prevent him from performing: “They assured the old lady that no harm would come to her son, but they had their orders to keep him in a safe place until it was too late for him to appear on the Abbey stage”. Fitzgerald wasn’t living there at the time, and his mother and sisters refused to reveal his whereabouts. The play went ahead. But perhaps this incident is another clue as to the potential need for pseudonyms in the politically charged post-civil war atmosphere.

Fitzgerald’s friendship with O’Casey led him to England to take the role written for him in The Silver Tassie, rejected by the Abbey in 1929. He then starred in Alfred Hitchcock’s film version of Juno and the Paycock, shot in London in 1930. The 1930s took Fitzgerald to the United States on Abbey Theatre tours in 1932 and 1934, performing in O’Casey plays alongside Synge staples like Playboy of the Western World and The Shadow of the Glen, Abbey Director and playwright Lennox Robinson’s The Far-off Hills.

In 1936, he and Arthur starred in John Ford’s version of The Plough and the Stars. This launched Fitzgerald’s Hollywood career and roles followed in films such as Bringing Up Baby (1938), How Green Was My Valley (1941), and And Then There Were None (1945), alongside his Oscar-winning turn in 1944’s Going My Way. A long-term creative partnership between Fitzgerald and Ford often found Fitzgerald cast as the comic foil to larger-than-life stars such as John Wayne. He would play alongside Arthur in Hollywood too, in Ford’s beloved The Quiet Man. As a character actor, he was unsurpassed in his era, and while Arthur’s career waned in later life, Fitzgerald would continue to be sought after.

Fitzgerald was rather reticent in his personal life, and Arthur Shields described his brother as “a very shy little man […] uncomfortable in crowds, and really dreaded meeting new people, but he was not a recluse and did enjoy certain company, especially when the ‘old chat’ was good”. Fitzgerald was a bachelor all his life, sharing an apartment in Hollywood with his stand-in Angus D Taillon. Tailon died in 1953 and Fitzgerald returned to Dublin in 1959, where he died in 1961. On is death, his friend Sean O’Casey said: “I loved the man. That is the only appreciation I can give. He was one of the greatest comedians who ever went on stage”.

Stephen Boyd IMDB

Stephen Boyd is one of the most underappreciated of actors and his career is in definit need o f reappraisal. He was born in Northern Ireland in 1931

. He came to promincnce as an Irish spy in the 1956 thriller “The Man Who Never Was” with Clifton Webb and Gloria Grahame. He starred opposite some of the great leading ladies of the period e.g. Diana Dors in “An Alligator Named Daisy”, “Brigitte Bardot in “”The Night Heaven Fell”, Joan Collins in “Island in the Sun”, Susan Hayward in “Woman Obsessed”, Doris Day in “Jumb”, Dolores Hart in “The Inspector”, Sophia Loren in “The Fall of the Roman Empire” , Gina Lollobigida in “Imperial Venus” and Raquel Welch in “Fantastic Voyage”.

His best remembered role was as Messala friend of “Ben-Hur” in 1959. It was a deeply shaded , nuanced performance for which he was nominated for an Oscar.

His last film was “The Squeeze” in 1977 where he played a hard-man gangster. He gave again a terrific performance although he looked much thinner that usual. He died of a heart attack in 1977 in California.

To view an interesting article on Stephen Boyd, please click here.

IMDB entry:

Stephen Boyd was born William Millar on July 4, 1931, at Glengormley, Northern Ireland, one of nine children of Martha Boyd and Canadian truck driver James Alexander Millar, who worked for Fleming’s on Tomb Street in Belfast. He attended Glengormley & Ballyrobert primary school and then moved on to Ballyclare High School and studied bookkeeping at Hughes Commercial Academy.

In Ireland he worked in an insurance office and travel agency during the day and rehearsed with a semi-professional acting company at night during the week and weekends. He would eventually manage to be on the list for professional acting companies to call him when they had a role. He joined the Ulster Theatre Group and was a leading man with that company for three years, playing all kinds of roles.

He did quite a bit of radio work in between as well, but then decided it was distracting him from acting and completely surrendered to his passion. Eventually he went to London as an understudy in an Irish play that was being given there, “The Passing Day”.

In England he became very ill and was in and out of work, supplementing his acting assignments with odd jobs such as waiting in a cafeteria, doorman at the Odeon Theatre and even busking on the streets of London. Even as things turned for the worst, he would always write back to his mother that all was well and things were moving along so as not to alarm her in any way or make her worry.

Sir Michael Redgrave discovered him one night at the Odeon Theatre and arranged an introduction to the Windsor Repertory Company. The Arts Council of Great Britain was looking for a leading man and part-time director for the only major repertory company that was left in England,

The Arts Council Midland Theatre Company, and he got the job. During his stay in England he went into television with the BBC, and for 18 months he was in every big play on TV. One of the major roles in his early career was the one in the play “Barnett’s Folly”, which he himself ranked as one of his favorites.

In 1956 he signed a seven-year contract with 20th Century-Fox. This led to his first film role, as an IRA member spying for the Nazis in The Man Who Never Was (1956), a job he was offered by legendary producer Alexander Korda. William Wyler was so struck by Boyd’s performance in that film that he asked Fox to loan him Boyd, resulting in his being cast in what is probably his most famous role, that of Messala in the classic Ben-Hur (1959) opposite Charlton Heston.

He received a Golden Globe award for his work on that film but was surprisingly bypassed on Oscar night. Still under contract with Fox, Boyd waited around to play the role of Marc Anthony in Cleopatra (1963) oppositeElizabeth Taylor.

However, Taylor became so seriously ill that the production was delayed for months, which caused Boyd and other actors to withdraw from the film and move on to other projects.

Boyd made several films under contract before going independent. One of the highlights was Fantastic Voyage (1966), a science-fiction film about a crew of scientists miniaturized and injected into the human body as if in inner space. He also received a nomination for his role of Insp. Jongman in Lisa (1962) (aka “The Inspector”) co-starring with Dolores Hart.

Boyd’s Hollywood career began to fade by the late 1960s as he started to spend more time in Europe, where he seemed to find better roles more suited to his interests.

When he went independent it was obvious that he took on roles that spoke to him rather than just taking on assignments for the money, and several of the projects he undertook were, at the time, quite controversial, such as Slaves (1969) and Carter’s Army (1970).

Boyd chose his roles based solely on character development and the value of the story that was told to the public, and never based on monetary compensation or peer pressure.

Although at the height of his career he was considered one of Hollywood’s leading men, he never forgot where he came from, and always reminded everyone that he was, first and foremost, an Irishman.

When the money started coming in, one of the first things he did was to ensure that his family was taken care of. He was particularly close to his mother Martha and his brother Alex.

Boyd was married twice, the first time in 1958 to Italian-born MCA executive Mariella di Sarzana, but that only lasted (officially) during the filming of “Ben Hur”.

His second marriage was to Elizabeth Mills, secretary at the British Arts Council and a friend since 1955. Liz Mills followed Boyd to the US in the late 1950s and was his personal assistant and secretary for years before they married, about ten months before his death on June 2, 1977, in Northridge, California, from a massive heart attack while playing golf – one of his favorite pastimes

Park in Chatsworth, California. It was a terrible loss, just as he seemed to be making a comeback with his recent roles in the series Hawaii Five-O (1968) and the English movieThe Squeeze (1977).

The Big Gamble, poster, US poster art, from left: Stephen Boyd, Juliette Greco, David Wayne, 1961. (Photo by LMPC via Getty Images)

It is a real tragedy to see that a man who was so passionate about his work, who wanted nothing but to tell a story with character, a man who was ahead of his time in many ways ended up being overlooked by many of his peers.

One fact remains about Stephen Boyd, however–his fans are still passionate about his work to this day, almost 30 years after his death, and one has to wonder if he ever realized that perhaps in some way he achieved the goal he set out for himself: to entertain the public and draw attention to the true art of acting while maintaining glamor as he defined it by remaining himself a mystery.– IMDb Mini Biography By: Brigitte Ivory

Dictionary of Irish biography:

Boyd, Stephen (1928–77), actor, was born William Millar 4 July 1928 at Glengormley near Belfast. He took his mother’s maiden name for the stage, and became a US citizen under that name in 1963. He began acting with the Carnmoney Amateur Dramatic Society, making his professional stage debut at the age of 16 before graduating to the Ulster Theatre Group. His voice became familiar as the RUC man in BBC Northern Ireland’s long-running radio series ‘The McCooeys’. After a short spell in Canada he worked in England, making an uncertain living in repertory theatre and securing an occasional television part. While working as a doorman at the Odeon cinema in Leicester Square, he secured an introduction to the director Alexander Korda, who gave him a contract with his London Film Company. He made his largely unnoticed screen debut in the comedy An alligator named Daisy (1955), followed by Hell in Korea (1956). After Korda’s death he moved to Twentieth Century Fox and secured a major part in the western The bravadoes (1958). Dark and strikingly handsome, he was noticed by William Wyler, who cast him as Messala in Ben-Hur (1959). His portrayal of Messala, Ben-Hur’s Roman boyhood friend turned mortal enemy, won him a Golden Globe from the Hollywood Foreign Press Association and made him an international star. In the famous chariot race Boyd and Charlton Heston did almost all their own driving. During the 1960s he appeared in several historical epics, mostly of dubious quality, and none of these performances came close to matching his impressively sinister Messala. Other than Messala, perhaps his best performance was as the actor whose rapid rise is followed by an equally rapid decline in The Oscar (1966). Frustrated at being offered poor roles and at his lack of artistic control, he founded his own film production company in 1973. Altogether he appeared in forty-two films, mostly playing villains, despite his good looks. Among the more notable were The big gamble (1960), filmed partly on location in Dublin; Shalako (1968), a western in which he co-starred with Sean Connery and Brigitte Bardot; and his last film, a British thriller, The squeeze (1977), in which he played a Belfast gangster. The Irish Times described him as ‘the nearest thing to a Hollywood star this island has produced since Barry Fitzgerald(qv)’. He died 2 June 1977 from a heart attack while playing golf with his wife Elizabeth at Northridge, California

Isabel Bigley was born in 1926 in the Bronx, New York. She originated the part of the Salvation Army member Sarah Brown in the 1951 production of the Broadway hit “Guys and Dolls”. She retired to rear her family in 1958 and lived for a time in London with her husband and six children. She died aged 80 in 2006.

Michael Freedland’s obituary in “The Guardian”:

The American singer and actor Isabel Bigley, who has died aged 78, will be remembered by British and US theatregoers for singing People Will Say We’re in Love in Oklahoma! and If I Were a Bell in Guys And Dolls.

Bigley was born in New York, the daughter of a salesman, and was educated at Walton high school in the Bronx before going to the Juilliard School of Music in 1944. Her Broadway debut was in the chorus of Oklahoma! in 1946. She followed the show to Drury Lane, where a brief period in the chorus led to the small part of Armina in 1947. She was so good that by the time the show closed in 1949, she was playing the female lead, Laurey, serenaded in The Surrey with the Fringe on Top.

News of her success got her a recommendation to Feuer and his partner, Ernie Martin, for Guys and Dolls. Bigley went on to be a sensation in the show, winning a Tony award in 1951. This was followed by a Theatre World award for the most promising newcomer. When she sang Sarah’s other hit, If I Were a Bell, critics remarked that that was how her voice sounded – like a bell. That same year, Bigley took part in the first television spectacular in colour. The show, Premiere, starred some of the most important American entertainment figures of the day.

When the Broadway production of Guys and Dolls ended in 1953, Rodgers and Hammerstein cast Bigley in the lead role of Jeannie in Me and Juliet, a show that ran for 358 performances. From then on, she concentrated on television, hosting the US version of the TV cabaret show Café Continental and appearing on the Ed Sullivan Show. She was a regular, too, on the Paul Whiteman, Eddie Fisher and Abbott and Costello shows, and was on the team of the American What’s My Line? She yearned to go back to the stage, but somehow the right part never cropped up at the right time.

In July 1953, Bigley married Lawrence Barnett, an important theatrical agency boss. Together, they endowed scholarships at Ohio State University and funded a biennial public policy symposium. Lawrence survives his wife, as do her four sons and two daughters.

· Isabel Bigley Barnett, actor and singer, born February 23 1928; died September 30 2006

The above article can be accessed online at the Guardian” here.

Paula Prentiss is a tall lanky comedy actor who graced American films of the 1960’s. She was born in 1938 in San Antonio, Texas. In 1960 she made her movie debut with her often film partner Jim Hutton in “Where the Boys Are”. She went on to star in “The Honeymoon Machine”, “The Horizontal Lieutenant” and “The World of Henry Orient” with Peter Sellers and Angela Lansbury. She and her husband Richard Benjamin had their own television series “He & She” from 1967 for a season.

TCM Overview:

A vivacious brunette comic player, Paula Prentiss began in lightweight, coquettish roles in the 1960s and shifted to more meaty dramatic fare in the 70s before curtailing her career in favor of raising a family. The daughter of an Italian immigrant and his wife, Prentiss graduated from the famed acting program at Northwestern University. Spotted by talent scouts, she was put under contract at MGM, where she was frequently partnered onscreen with Jim Hutton, beginning with her debut feature “Where the Boys Are” (1960). Having conquered the teen audience, Prentiss offered what many feel is her best performance as Rock Hudson’s overbearing girlfriend in Howard Hawks’ “Man’s Favorite Sport?” (1964) She continued to win the attention of adult moviegoers as Peter Sellers’ married conquest in “The World of Henry Orient” (1964) and as a stripper chasing Peter O’Toole in “What’s New Pussycat” (1965). She retired from features for five years, during which she co-starred with her husband Richard Benjamin in the CBS sitcom “He and She” (1967-68) as a scatterbrained social worker married to a cartoonist.

Prentiss resumed her film career as Elliot Gould’s wife in the dismal “Move” (1970). She fared better as the sexy Nurse Duckett in “Catch-22” (also 1970), directed by Mike Nichols. In “The Parallax View” (1974), Prentiss shone in the brief role of a TV reporter who feared for her life after witnessing a political assassination. The following year, her natural, down-to-earth style was most apparent when she uttered her introductory line concerning her family’s last name being “Marco. That’s upward mobility for Markowitz” in “The Stepford Wives” (1975).

Prentiss curtailed her schedule for much of the late 70s into the early 90s to concentrate on child-rearing, although she accepted the occasional juicy role. In “The Black Marble” (1980), she was a cop romantically involved with her partner, played Jack Lemmon’s wife in Billy Wilder’s last feature “Buddy, Buddy” (1981) and acted opposite Benjamin in the horror spoof “Saturday the 14th” (1981). Her small screen credits include the TV-movies “Packin’ It In” (CBS, 1983) and “M.A.D.D.: Mothers Against Drunk Driving” (NBC, 1983). With her children grown and in college, she began to resume her career in earnest with guest appearances on “Murder, She Wrote” and “Burke’s Law”, an uncredited bit as a nasty nurse in the Benjamin-directed “Mrs. Winterbourne” (1996) and an L.A. stage role as a dying woman in “Angel’s Share” in 1997.

The above TCM overview can also be accessed online here.

Judith Anderson was a commanding stage actress who acted on film on occasion. She was born in 1898 in Adelaide, South Australia. She made her stage debut at 15. She made her Broadway debut in 1922 in “On the Stairs”. Her best known work on celluloid is as Mrs Danvers, the housekeeper of Manderly in Alfred Hitchcock’s classic “Rebecca” in 1940. Other films included “The Furies”, “Laura” with Gene Tierney, “The Ten Commandments” in 1956, “Cinderfella” as the stepmother of Jerry Lewis and “A Man Called Horse” with Richard Harris. She died in Santa Barbbara at the age of 93 in 1992.

TCM Overview:
A leading Broadway star from the 1920s through the 50s, Judith Anderson was perhaps most famous for her savage, award-winning performance as “Medea” in 1947; as a formidable Lady Macbeth (opposite Laurence Olivier in London in 1937 and Maurice Evans on Broadway in 1941); and as an interpreter of the neurotic heroines of Eugene O’Neill (Nina in “Strange Interlude” in 1928 and Lavinia in “Mourning Becomes Electra” in 1932). Anderson made her film debut in 1933 and played the sinister housekeeper Mrs. Danvers in Hitchcock’s “Rebecca” seven years later. It was the first, and most memorable, in a series of malevolent character roles that exploited her severe features and commanding presence. Cast against type, Anderson made an effective Big Mama in Richard Brooks’ film adaptation of “Cat on a Hot Tin Roof” (1958). Late in her career she gained a new following as campy grande dame Minx Lockridge on the NBC TV soap opera, “Santa Barbara”.

Jack Warden was born in 1920 in Newark, New Jersey. He first achieved major public recognition as one of the jury members in the 1957 classic film “12 Angry Men” which starred Henry Fonda. His other films included “Brian’s Song”,”Shampoo”, “Heaven Can Wait” and “And Justice for All”. He died in 2006 aged 86.

Tom Vallance’s obituary in “The Independent”

The actor Jack Warden, whose accolades included an Emmy award and two Oscar nominations, was one of several notable talents who came from television to the movie screen in the late Fifties, along with such directors as John Frankenheimer and Sidney Lumet, and writers such as Paddy Chayevsky and Reginald Rose.

His first major screen roles were in three exceptional films of 1957, all adapted from television plays, including Lumet’s Twelve Angry Men, written by Rose, in which he made an indelible impression as the irascible, gruff-voiced juror number seven, a gum-chewing salesman who wants a quick verdict so that he can attend a baseball match. His other films that year were Martin Ritt’s Edge of the City, written by Robert Alan Aurthur, and Delbert Mann’s The Bachelor Party, by Chayevsky.

An intense actor with a tough exterior, Warden was memorable in both films – in the first as a corrupt and bigoted dockside union official who becomes homicidal when he clashes with an army deserter (John Cassavetes) and a rebellious black dock worker (Sidney Poitier), and in the second as a book-keeper who invites office pals to a party for a friend who is about to get married. Ageing and lonely, Warden’s character puts on a brave front until breaking down in a painfully real crying scene.

Warden was later to show that he could also get laughs and he won two Oscar nominations for humorous performances, for his role as a husband in Shampoo (1975) who is easily cuckolded by hairdresser Warren Beatty because he is convinced that all hairdressers are gay, and as a perpetually flustered football coach in Heaven Can Wait (1978) aware (though incredulous) that his former protégé has been reincarnated after a fatal accident. Though critics generally found the latter a heavy- handed remake of Alexander Hall’s delightful fantasy-comedy Here Comes Mr Jordan (1941), many singled out Warden’s hilarious performance as its saving virtue. “Warden’s done it all,” said his friend the actor Jack Ging. “He’s the kind of guy that Spencer Tracy used to play.”

Born in Newark, New Jersey, in 1920, he was raised in Kentucky, where he attended the DuPont Manuel High School in Louisville. At the age of 17, he was expelled for frequent fighting. Becoming a professional welter-weight prize-fighter, he had 13 fights, calling himself Johnny Costello (adopting his mother’s maiden name), but he was not notably successful. In 1938, having worked as a night-club bouncer, tugboat deckhand and lifeguard, he joined the US Navy and spent three years in China with the Yangtze River Patrol.

In 1941 he joined the Merchant Marine, but when the US entered the Second World War he switched to the Army, serving as a paratrooper with the 101st Airborne Division. He was due to take part in the Normandy landings in 1944, but just before D-Day he broke his leg during a night-time practice jump in England. It was during the ensuing long spell in hospital that he was given a copy of Clifford Odets’ play Waiting for Lefty, which prompted him to read more plays and instilled in him the ambition to be an actor. “That year in hospital was the turning point of my life,” he said later.

He returned to active duty to take part in the Battle of the Bulge, then, on his discharge at the war’s end he studied acting on the GI Bill. He spent more than a year with the Margo Jones repertory group in Dallas, then moved to New York, where he made his television début in 1948 with parts in the prestigious drama anthology series The Philco Television Playhouse and Studio One.

He made his screen début (the first of several bit roles) in a comedy starring Gary Cooper, You’re in the Navy Now (1951), in which two other unknowns, Lee Marvin and Charles Bronson, made their first film appearances. His first credited role was in the crime drama The Man with My Face (1951), starring Barry Nelson as an accountant who is the double of a gangster, and other early films included The Frogmen (1952) and From Here to Eternity (1953, as a corporal).

From 1953 he had a recurring role for three years in the television comedy series Mr Peepers. Later he became part of television history when he starred in the first episode filmed for the cult series The Twilight Zone (though it was not the first shown). Titled “The Lonely” (1959), it starred Warden as a convicted murderer imprisoned for life alone on an asteroid. Given a robotic companion, Alicia (Jean Marsh), by the sympathetic captain of a supply ship, he falls in love with the machine and when given a pardon he refuses to leave without her until it is dramatically proven that Alicia is not flesh and blood.

From 1967 to 1969 Warden starred in a crime series, NYPD, which was shot largely on location in New York City. In 1971 he won an Emmy Award as best supporting actor for his portrayal of the real-life football coach George Halas, of the Chicago Bears, in the tragic tale Brian’s Song.

Warden made his Broadway début in a revival of Golden Boy (1952) in which John Garfield reprised his original leading performance, and he also played small roles in the Arthur Miller double-bill A View From The Bridge/A Memory of Two Mondays (1955). His only musical was the Jerry Bock-Sheldon Harnick show The Body Beautiful (1958), but his most notable Broadway appearance came when he replaced Donald Pleasence as the star of Robert Shaw’s The Man in the Glass Booth (1969), directed by Harold Pinter.

After his breakthrough appearances in the 1957 movies, he was in constant demand for the sort of screen parts – cops, sports coaches, military men – that matched his gruff exterior, though many of his characters displayed a soft centre. He played military men in The Thin Red Line (1964) and Raid on Entebbe (1977), the brusque President in Being There (1978), a German doctor in Death on the Nile (1978), twin automobile salesmen – one good, one bad – in Used Cars (1980), Paul Newman’s law partner in The Verdict (1982), and he showed his comic flair as the senile, gun-carrying judge in the satiric . . . And Justice for All (1979), Shampoo, Heaven Can Wait and as a flustered theatre producer in Woody Allen’s Bullets Over Broadway (1995).

In All The President’s Men (1976), Alan J. Pakula’s riveting account of the exposure of the Watergate scandal by the journalists Bob Woodward and Carl Bernstein, Warden played the Washington Post’s city editor, Harry M. Rosenfeld, who recalled that the actor spent some time watching him work, though he assured the editor that “I play a part – I don’t play you.” Rosenfeld described Warden as “a skilled performer and a splendid fellow who possessed a strong personality and yet seemed rather shy for an actor”.

Warden made over 100 movies, more recent ones including While You Were Sleeping (1995), Things to Do in Denver When You’re Dead (1995), Woody Allen’s Mighty Aphrodite (1995), Warren Beatty’s Bulworth (1998) and, his final film, a football comedy, The Replacements (2000), with Keanu Reeves and Gene Hackman.

Tom Vallance

The above obituary can also be accessed online here.

Muriel Angelus was born in 1909 in London of Scottish parents. Her first movie was the silent “The Ringer” in 1928. Up until 1935 she alternated between making films and appearing on the London stage. She then went to Broadway to appear in the hit show “The Boys from Syracuse” with Eddie Albert. She then went to Hollywood where she made such films as “The Light that Failed” with Ronald Colman and Ida Lupino “The Great McGinty” directed by the great Preston Sturges with Brian Donlevy. On her marriage in 1943 she retired from acting. Muriel Angelus died at the age of 95 in 2004.

Gary Brumburgh’s entry:

The memories are vague when it comes to recalling this London-born leading lady, but Muriel Angelus did have her moments. She managed to appear in a few classic Broadway musical shows and Hollywood films before her early retirement in the mid-1940s. Of Scottish parentage, the former Muriel Findlay developed a sweet-voiced soprano at an early age. She made her singing debut at 12, eventually changing her name and becoming a popular music hall performer. She entered films toward the end of the silent era with The Ringer (1928), the first of three movie versions of the Edgar Wallace play. Her second film Sailor Don’t Care (1928) was important only in that she met her first husband, Scots-born actor John Stuart. Her part was excised from the film. Though in her first sound picture Night Birds (1930), she got to sing a number, most of her films did not usurp her musical talents. The sweet-natured actress who played both ingenues and ‘other woman’ roles co-starred with husband Stuart in No Exit (1930), Eve’s Fall (1930) and Hindle Wakes (1931), and appeared with British star Monty Banks in some of his farcical comedies, including My Wife’s Family (1932) and So You Won’t Talk (1935). Muriel received a career lift with the glossy musical London hit “Balalaika” and a chain of events happened with its success. It led to her securing the pivotal role of Adriana in “The Boys From Syracuse” and, in turn, a contract with Paramount Pictures. Divorced from Stuart by this time, Muriel settled in Hollywood and made her best films while there. She was touching as girlfriend to blind painter Ronald Colman in The Light That Failed (1939), a second remake of the Rudyard Kipling novel, and appeared to great advantage in Preston Sturges’ classic satire The Great McGinty (1940) as _Brian Donlevy_’s secretary. After scoring another long-running Broadway hit with “Early To Bed” in 1943, Muriel met Radio City Music Hall orchestra conductor Paul Lavalle while appearing on radio in New York and married him in 1946. She retired to raise a family in New England. They had a daughter, Suzanne, who later worked for NBC. Muriel pretty much stayed out of the limelight for the remainder of her life. She died at 95 in a Virginia nursing home in 2004, some seven years after her husband’s death.

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

Guardian obituary 2004

Muriel Angelus

British actor who starred in films and stage musicals, memorably singing Falling In Love With LoveRonald BerganThu 2 Sep 2004 01.36 BST

One of Rodgers and Hart’s greatest hits, Falling In Love With Love, was first sung in the 1938 Broadway production of The Boys From Syracuse by Muriel Angelus, who has died aged 95. The New York Times critic thought her portrayal of Adriana in this musical adaptation of The Comedy Of Errors “a monument to precariously controlled wifely patience”, and that she sang “with exquisite sweetness”. Unfortunately, her sweetly exquisite soprano voice was heard too seldom in a career that began at the age of 12 and ended at 33.

Born in London of Scottish parents, the blonde Muriel Angelus Findlay began singing in music halls before entering films in 1928 in the silent The Ringer, the first of three versions of the Edgar Wallace play. A year later, she was in Germany for Maskottchen, based on an operetta by Walter Bromme, in which she played “the other woman”. If the producers had waited a few months for sound, they could have included the songs.Advertisementhttps://38e84c381af680794f0905d392a93a04.safeframe.googlesyndication.com/safeframe/1-0-38/html/container.html

In her first talkie, Night Birds (1930), she got to sing a number in a West End revue, in which a detective, on the trail of her fugitive boyfriend, disguises himself as a chorus boy. More serious was Hindle Wakes (1931), the first sound version of Stanley Houghton’s 1912 play, where Angelus portrayed Beatrice Farrar, the respectable fiancee of Alan Jeffcote, a Lancashire mill-owner’s son, who refuses to go away with him for a naughty weekend. Instead, he takes a mill girl, only to return to Beatrice after the girl remembers her “place”. Jeffcote was played by the Scottish-born actor John Stuart, whom Angelus married during the shooting of the film.

They then appeared together in Let’s Love And Laugh (1931), an inconsequential comedy-drama in which she was the daughter of a publisher, and he an aspiring writer. She then embarked on several farcical comedies, some directed and starring Monty Banks (Mario Bianchi), the husband of Gracie Fields, with titles such as My Wife’s Family (1932), So You Won’t Talk (1935), and Blind Spot (1932), in which she played an amnesiac, a melodrama Angelus would have wanted to forget.

· Muriel Angelus, actor, born March 10 1909; died August 22 2004

The Way Of All Flesh, poster, l-r: Muriel Angelus, Akim Tamiroff, Gladys George on poster art, 1940. (Photo by LMPC via Getty Images)

In 1936, she starred in the Eric Maschwitz stage musical Balalaika at the Adelphi Theatre in London. Angelus was ravishing as Lydia, a ballet dancer and singer, who falls in love in Paris with an exiled Russian prince after the Bolshevik Revolution. It was the sort of thing that went down very well in the West End in the 1930s, and it ran for over a year. It led to Angelus being offered the role of Adriana in The Boys From Syracuse, and a contract with Paramount, for whom she made four prestigious films.

The first was William Wellman’s The Light That Failed (1939), the second remake of the Rudyard Kipling novel, which tells of the desperate attempt of a painter (Ronald Colman) to finish his greatest painting – of a prostitute (Ida Lupino) – before he goes blind. In a moving scene, Angelus, as the now blind artist’s girlfriend, has to hide the fact from him that the painting has been slashed by the prostitute in a jealous rage.

Of the three last films she made, all in 1940 – Safari, a studio-bound jungle melodrama with Douglas Fairbanks Jr as “the best hunter in West Africa”; The Way Of All Flesh, in which Angelus was a thieving adventuress; and The Great McGinty – the last is by far the most memorable. In this, Preston Sturges’ first feature, about a tramp (Brian Donlevy) who becomes state governor by craft and graft, Angelus played his secretary, offering to become his public wife for the sake of the “women’s vote”. Angelus triumphs as the sole character with half a conscience in one of Hollywood’s best satires.

After another success in a Broadway musical, Early To Bed (1943-44), as the madame of a bordello in pre-war Martinique, which people, for reasons known only to the librettist, keep mistaking for a girls’ school, Angelus left show business. In 1946, long divorced from Stuart, she married Paul Lavelle, the conductor of the Radio City Music Hall orchestra.

Fifteen years later, Lavelle and Angelus recorded Tribute To Rodgers And Hammerstein, in which, naturally, she sung Falling In Love With Love. She is survived by her daughter from her second marriage.

Collection of Classic Hollywood Actors

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Tribute from “Irish Times” by Jessica Traynor in 2019.

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Stephen Boyd IMDB

Dictionary of Irish biography:

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Judith Anderson

Jack Warden

Muriel Angelus

Guardian obituary 2004

Muriel Angelus

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