|
|
Post by NoShear on Jul 22, 2024 16:28:07 GMT
^ He did find some maternal love in the arms of Norma Shearer, though, at least for the camera:  |
|
|
|
Post by topbilled on Jul 22, 2024 16:49:04 GMT
Cute photo, NoShear.
A Beery picture I like, which I should have added to the suggested viewing list, is STABLEMATES (1938). This one features Beery as an alcoholic vet who gets involved with a kid (Rooney) and a horse that might have a shot of winning an important race.
Metro always did a good job with these kinds of family films, where a guy like Beery is given a chance to play a redemptive story arc.
Since this was in that period between Marie Dressler's death and the hiring of Marjorie Main as a new foil for Beery, the lead female character is played by Margaret Hamilton (who seldom had such a big part in a film). Maybe because Hamilton was wowing the bosses with her work in the studio's upcoming version of THE WIZARD OF OZ, they rewarded her by casting her in STABLEMATES opposite Beery. There are some genuinely uproarious scenes between them.
|
|
|
|
Post by NoShear on Jul 22, 2024 17:09:08 GMT
Cute photo, NoShear.
A Beery picture I like, which I should have added to the suggested viewing list, is STABLEMATES (1938). This one features Beery as an alcoholic vet who gets involved with a kid (Rooney) and a horse that might have a shot of winning an important race.
Metro always did a good job with these kinds of family films, where a guy like Beery is given a chance to play a redemptive story arc.
Since this was in that period between Marie Dressler's death and the hiring of Marjorie Main as a new foil for Beery, the lead female character is played by Margaret Hamilton (who seldom had such a big part in a film). Maybe because Hamilton was wowing the bosses with her work in the studio's upcoming version of THE WIZARD OF OZ, they rewarded her by casting her in STABLEMATES opposite Beery. There are some genuinely uproarious scenes between them.
I'd guess that Wallace Beery and Mickey Rooney got on better since both were from the earlier world of vaudeville, correct, TopBilled? I can see the similarly boorish W. C. Fields and Margaret Hamilton having some fun together and, sure enough, My Little Chickadee! |
|
|
|
Post by christine on Jul 22, 2024 21:14:25 GMT
Sweet photo of Norma and Jackie Cooper NoShear!!!
|
|
|
|
Post by christine on Jul 22, 2024 21:26:09 GMT
I wanted to comment on Gloria Grahame who I adore.
First of all topbilled, I did not know she was British - if I read your information correctly - did her and her mother live in Britain or were they of British decent? I found that interesting.
Second, if I see a movie with Gloria Grahame in it - I watch! I think She's so captivating on scene! She can play in musicals like OKLAHOMA! and like you said a bad girl in THE BIG HEAT - very versatile!
I also think she has a very unique physical beauty about her - alluring! One of our treasures from the Golden Age!
|
|
|
|
Post by christine on Jul 22, 2024 21:57:53 GMT
Also wanted to comment on Judy Holliday. (Sorry I'm a few days behind). She's another actor who I think was very unique - her voice does it for me. One of my favorite films of her's is IT SHOULD HAPPEN TO YOU 1954 with Jack Lemmon. I enjoyed every movie she was in. I would have to say though, my favorite is BELLS ARE RINGING 1960 with Dean Martin. Absolutely love when Dean is singing 'Just In Time' to Judy in the park while dancing - call me corny! During production there were many days she was not feeling well and Dean helped calm her - they were a good team together. Vincente Minnelli requested Dean for this part after working with him on the film SOME CAME RUNNING 1958.  Dean and Judy practicing their lines. BELLS ARE RINGING was Judy's last film. Sadly she died of cancer in 1965. |
|
|
|
Post by topbilled on Jul 22, 2024 23:17:48 GMT
I wanted to comment on Gloria Grahame who I adore. First of all topbilled, I did not know she was British - if I read your information correctly - did her and her mother live in Britain or were they of British decent? I found that interesting. Second, if I see a movie with Gloria Grahame in it - I watch! I think She's so captivating on scene! She can play in musicals like OKLAHOMA! and like you said a bad girl in THE BIG HEAT - very versatile! I also think she has a very unique physical beauty about her - alluring! One of our treasures from the Golden Age! |
|
|
|
Post by NoShear on Jul 22, 2024 23:26:57 GMT
Cute photo, NoShear.
A Beery picture I like, which I should have added to the suggested viewing list, is STABLEMATES (1938). This one features Beery as an alcoholic vet who gets involved with a kid (Rooney) and a horse that might have a shot of winning an important race.
Metro always did a good job with these kinds of family films, where a guy like Beery is given a chance to play a redemptive story arc.
Since this was in that period between Marie Dressler's death and the hiring of Marjorie Main as a new foil for Beery, the lead female character is played by Margaret Hamilton (who seldom had such a big part in a film). Maybe because Hamilton was wowing the bosses with her work in the studio's upcoming version of THE WIZARD OF OZ, they rewarded her by casting her in STABLEMATES opposite Beery. There are some genuinely uproarious scenes between them.
Thanks, TopBilled and christine. You both no doubt are already aware that it's an early scene from the following 1931 short: Lucky Jackie. |
|
|
|
Post by NoShear on Jul 22, 2024 23:40:39 GMT
Also wanted to comment on Judy Holliday. (Sorry I'm a few days behind). She's another actor who I think was very unique - her voice does it for me. One of my favorite films of her's is IT SHOULD HAPPEN TO YOU 1954 with Jack Lemmon. I enjoyed every movie she was in. I would have to say though, my favorite is BELLS ARE RINGING 1960 with Dean Martin. Absolutely love when Dean is singing 'Just In Time' to Judy in the park while dancing - call me corny! During production there were many days she was not feeling well and Dean helped calm her - they were a good team together. Vincente Minnelli requested Dean for this part after working with him on the film SOME CAME RUNNING 1958. Dean and Judy practicing their lines. BELLS ARE RINGING was Judy's last film. Sadly she died of cancer in 1965. christine, I think Judy Holliday was the anthesis of her screen persona's ditzy yield too. Given her relationship with sax star Gerry Mulligan, I easily can picture Judy Holliday comfortably hanging with hipsters sipping coffee in some jazz bistro.  |
|
|
|
Post by topbilled on Jul 23, 2024 13:59:26 GMT
Roy Barcroft
He’s been called the best bad guy that ever was in the golden age of Hollywood. And though he did other kinds of roles in all sorts of pictures, Roy Barcroft is mostly remembered for his countless turns playing the villain in Republic’s B westerns. He became so identified as the baddie that audiences cheered when they saw him in the first few minutes of a film, then eagerly looked forward to his arrest or climactic death at the end of story. Off screen Roy was regarded as one of the nicest guys around. He fell into acting, because he had extensive military experience and was offered jobs playing soldier extras. Originally, he had no intention of pursuing a motion picture career. He was a salesman and did a little bit of theater to improve his voice and presentation style when selling things to customers. But someone noticed he had talent, and soon he was offered small roles in serials and low-budget films. From 1936 to 1943, he worked steadily and quickly became typecast as a heavy. His ability to play ruthless land barons and crooked sheriffs led Herbert Yates of Republic to sign him to an exclusive 10-year contract. Until B westerns went out of fashion in the mid-50s, Roy remained gainfully employed in the movies. During the years he was under contract at Republic, he made 150 motion pictures, averaging around a dozen per year. In the mid-50s, he moved over to television without missing a beat. During the late 50s and 60s, Roy was just as busy on TV as he had been in films at Republic. He turned up in almost every major weekly western series. Occasionally, he accepted work outside the western genre where he might have a chance to play a different character. For two years, he appeared in The Adventures of Spin and Marty, a serial that was part of Disney’s Mickey Mouse Club.
Later, there were returns to the big screen– he was a judge in THE REIVERS and a proprietor in MONTE WALSH, which was released after Roy’s death. According to the IMDb, he wound up with nearly 400 screen credits. Not too shabby for a guy who started as a salesman.
 Suggested Viewing:
SHERIFF OF SUNDOWN (1944)SANTA FE SADDLEMATES (1945)BELLS OF ROSARITA (1945)WAGON WHEELS WESTWARD (1945)HOME ON THE RANGE (1946)MY PAL TRIGGER (1946)SON OF ZORRO (1947)LAST FRONTIER UPRISING (1947)JESSE JAMES RIDES AGAIN (1947)MARSHAL OF CRIPPLE CREEK (1947)
|
|
|
|
Post by topbilled on Jul 24, 2024 13:04:19 GMT
Steve Cochran
Steve Cochran came from a working class family in Wyoming. He didn’t want to be a logger like his father, and while he was in college, he decided acting was the way to go. When he went to Hollywood, Steve didn’t make it on screen right away and found work as part of a Shakespearean group that performed up and down the southern California coast. During the war he directed and put on shows at army bases, though he had been rejected for military service due to a heart condition. At the end of the war Steve was back in Hollywood and made his first few pictures at Columbia. These were B films in which he had supporting roles, but they helped him get the attention of Samuel Goldwyn. Soon Steve was under contract to the well-known producer, appearing in some musical comedies with Danny Kaye. There was also a musical comedy with Groucho Marx. Plus Goldwyn cast him in a smallish role in THE BEST YEARS OF OUR LIVES. By 1949 Steve had moved over to Warner Brothers where he quickly found his niche playing gangsters and other assorted tough guys. He had a memorable role in WHITE HEAT alongside James Cagney, then was featured in a series of crime dramas and westerns where he costarred in support of big names like Gary Cooper and Joan Crawford. The studio also gave Steve his first lead role in 1950– it was in HIGHWAY 301 with Virginia Grey. The film was a hit and led to similar pictures. Until the end of his contract in 1952, he continued to alternate between supporting roles in more prestigious productions and leads in modestly budgeted fare. After he had finished at Warners, he became a freelancer.In the mid-to-late 50s, Steve turned to television and to producing. His movie career was in decline, but he worked in notable productions like Republic’s outstanding drama COME NEXT SPRING opposite Ann Sheridan.
In the 60s, he was seen in foreign-produced films and he tried his hand at directing. His last film, which he directed, was released two years after his untimely death.Suggested Viewing:COPACABANA (1947)A SONG IS BORN (1948)WHITE HEAT (1949)THE DAMNED DON'T CRY (1950)HIGHWAY 301 (1950)INSIDE THE WALLS OF FOLSOM PRISON (1951)STORM WARNING! (1951)TOMORROW IS ANOTHER DAY (1951)THE DESERT SONG (1953)COME NEXT SPRING (1956)
|
|
|
|
Post by topbilled on Jul 25, 2024 9:05:18 GMT
Dan Duryea
Dan Duryea spent several years as an ad exec before he gave up the life of a nine-to-five job and pursued acting. The theater was his real love, and he began to earn favorable notices. He had a strong role in the original production of ‘Dead End,’ then made a name for himself in ‘The Little Foxes.’ Producer Samuel Goldwyn was impressed and hired him for the feature film version. During his time with Goldwyn, Dan appeared opposite Gary Cooper in THE PRIDE OF THE YANKEES. He soon became known for his idiosyncratic turns in support of bigger stars. He and Cooper reunited for the western ALONG CAME JONES; and Dan also collaborated twice with Joan Bennett in the Fritz Lang crime dramas WOMAN IN THE WINDOW and SCARLET STREET. SCARLET STREET was made at Universal; and soon Dan signed on exclusively with the studio to make a series of thrillers and crime dramas. Usually Dan was cast in villainous parts; and he did quite well at that. Sometimes his shadier characters were the main focus, and he snagged a lead role.In addition to crime pictures, he found a niche playing rogues in westerns at Universal. He worked with James Stewart and Audie Murphy several times– in one film, NIGHT PASSAGE, they all appeared together. Dan also made forays into television– he starred in two seasons of his own adventure program. Later Dan went overseas and appeared in some European productions. But he would mostly be remembered for his strong film performances at Universal.
Suggested Viewing:THE LITTLE FOXES (1941)
SCARLET STREET (1945)BLACK ANGEL (1946)LARCENY (1948)TOO LATE FOR TEARS (1949)
THE UNDERWORLD STORY (1950)WINCHESTER ’73 (1950)RIDE CLEAR OF DIABLO (1954)FOXFIRE (1955)NIGHT PASSAGE (1957)
|
|
|
|
Post by topbilled on Jul 26, 2024 13:21:15 GMT
Broderick Crawford
He was a larger-than-life but lovable tough guy. Broderick Crawford was respected by his peers, because he brought considerable show biz experience to each of his performances. His grandparents had started in vaudeville, and so did his parents, who later found work in the movies. Brod was accepted into Harvard but turned his back on an academic career to follow his heart as a performer. He would reach the summit of show biz success when he earned an Oscar for playing Willie Stark in ALL THE KING’S MEN. He had started on screen a decade earlier with a minor role in a Sam Goldwyn film. In the late 30s and early 40s, he found supporting parts at Paramount. At the same time his movie career was gaining traction, his mother (Helen Broderick) was enjoying considerable success as a character actress, usually in romantic comedies and musical comedies at RKO. However, mother and son never appeared together on screen.
Around the time Helen retired, Brod had joined the army during the war. When his military duty ended, he was back on screen either at Universal or Warner Brothers. He didn’t possess leading man looks to get the really big parts, so he settled into strong secondary roles. But it all changed when Columbia cast him as Willie Stark. After this, he played a series of memorable leads. In the 50s he was unstoppable. Columbia cast him in westerns (THE LAST POSSE); comedies (BORN YESTERDAY); and action adventure yarns (CARGO TO CAPETOWN). His tough guy image was on display in all these films– sometimes as a villain. This phase of Brod’s career peaked with his role as a vicious hardened criminal in BIG HOUSE U.S.A.
He then went over to television and the right side of the law as the star of a popular weekly series: Highway Patrol. For four seasons he played gruff policeman Dan Mathews and became even more of a household name.  When his hit TV series ended, Brod went to Europe and made films in Italy and other countries. He returned to the U.S. in the 60s and tried another weekly TV show that was short-lived. He continued to remain busy with jobs in low budget films and guest work on various TV programs. Despite an on-going drinking problem, he worked steadily until the early 80s. His last screen appearance was an episode of Simon & Simon where he played, you guessed it, another tough guy.
 Suggested Viewing:SLIGHTLY HONORABLE (1939)WHEN THE DALTONS RODE (1940)LARCENY INC. (1942)THE FLAME (1947)ALL THE KING'S MEN (1949)CONVICTED (1950)BORN YESTERDAY (1950)THE LAST POSSE (1953)DOWN THREE DARK STREETS (1954)BIG HOUSE U.S.A. (1955)
|
|
|
|
Post by topbilled on Jul 27, 2024 7:18:44 GMT
Richard Widmark
Richard Widmark was already in his thirties when he signed with 20th Century Fox. Before arriving in Hollywood he had concentrated on stage roles and even taught acting. It was not his intention to become a movie star, but that is just what happened anyway. His first assignment at Fox was a breakout role in the noir classic KISS OF DEATH, where he played a vicious thug opposite Victor Mature. For his efforts, Richard was nominated for an Oscar. Though he didn’t receive the award, he made such an impression that he was quickly placed in similar roles. In follow-ups like THE STREET WITH NO NAME and ROAD HOUSE he played other menacing characters and in the process was quickly typecast. Eventually Richard was allowed to play characters on the right side of the law which helped demonstrate his versatility. He graduated to lead roles and during a seven year period at Fox, he made more than 20 motion pictures– most of them were huge hits with audiences. He worked with stars like Lionel Barrymore; Dana Andrews; Susan Hayward; and Sidney Poitier.
For his work in NO WAY OUT, he was back to playing another cold-hearted character. But whether he was appearing in gritty urban dramas or westerns, there was an immensely likable quality Richard projected on screen. After he left Fox, we worked primarily at Universal and MGM. He costarred with Sidney Poitier two more times, and off screen they became very good friends. Years later Sidney directed him in a romantic comedy with Gene Wilder and Gilda Radner. Richard didn’t really slow down, and unlike many golden age stars who needed to reinvent themselves, he remained a popular screen presence well into the 1980s.
One of his hits for Universal was a police procedural called MADIGAN. Several years after the feature film, he reprised the character in a few TV movies. Suggested Viewing:KISS OF DEATH (1947)ROAD HOUSE (1948)DOWN TO THE SEA IN SHIPS (1949)NIGHT AND THE CITY (1950)NO WAY OUT (1950)PANIC IN THE STREETS (1950)THE FROGMEN (1951)PICKUP ON SOUTH STREET (1953)TAKE THE HIGH GROUND! (1953)BROKEN LANCE (1954)
|
|
|
|
Post by topbilled on Jul 28, 2024 15:26:48 GMT
Lee Van Cleef
When Lee Van Cleef died in 1989, his family had the phrase ‘Best of the Bad’ engraved on his tombstone. It was a reference to the many villains he had played in gangster flicks and spaghetti westerns– though sometimes he was cast as a sympathetic and misunderstood anti-hero. He was certainly one of the best when it came to playing brooding social outcasts. The road to stardom was not an easy or quick one for Lee. He had been a technician in the Navy during World War II. At the time of his enlistment, he traveled to many countries in the Caribbean and along the Mediterranean. Geographic features from these far-off locations would invariably find their way into his paintings. Later when he became a star in European films, he returned to some of the places he had visited decades earlier. After the war, Lee left the military and decided he wanted to act. He joined a theater group on the east coast and began studying his newly adopted craft. He soon came to the attention of talent scouts who were impressed with his delivery and his striking physical appearance. However, because Lee refused to turn himself into a Hollywood glamor boy during the 50s (one producer suggested plastic surgery on his nose), he was relegated to supporting parts. He eked out a living playing secondary roles, usually bad guys who were gunned down before the end of the story. It’s been suggested that he has the second highest number of death scenes in movies, and that might be right. He was also cast in nefarious roles on television westerns and crime dramas.  By 1960 Lee was experiencing depression, due to a car accident and the end of his first marriage. In the process he nearly gave up his acting career. But somehow, he had come to the attention of Italian director Sergio Leone. Leone cast him alongside Clint Eastwood in FOR A FEW DOLLARS MORE, and Lee’s career suddenly took off. There was another film with Leone and Eastwood, where he played a truly menacing villain named Angel; and this was followed by a series of European westerns over the next ten years. He was now a hot commodity. Hits that followed included SABATA as well as BARQUERO, where the villainy was handed over to Warren Oates and Lee played a more heroic character. In the late 70s and 80s, he still was making films, but he began to take supporting roles. Despite health issues during the last few years of his life, he continued to work. By the time it was all said and done, Lee had been in at least 90 motion pictures and played over 100 television roles.
 Suggested Viewing:
FOR A FEW DOLLARS MORE (1965)THE BIG GUNDOWN (1966)DEATH RIDES A HORSE (1967)COMMANDOS (1968)SABATA (1969)BARQUERO (1970)EL CONDOR (1970)BAD MAN'S RIVER (1971)TAKE A HARD RIDE (1975)GOD'S GUN (1976)
|
|
