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For many decades, Coleman played sleazy or thuggish or twisted baddies, sometimes comedic, sometimes not. There were exceptions where he played good guys (That Girl, On Golden Pond, The Guardian) but something about the combination of his imposing height, heartless demeanor, beady eyes, permanently mustachioed (practically being twirled) but otherwise average looks, and fast-talking Texan shyster physiognomy copper-fastened the bad guy stereotype. In between the two extremes, good and bad, was the flawed but very human Slap Maxwell. (The Slap Maxwell Story had a briefer run than it deserved perhaps because for its time it hit too close to home, although tame by later standards.)
Dabney Wharton Coleman was born in Austin, Texas, to Mary Wharton (Johns) and Melvin Randolph Coleman. He attended the Virginia Military Institute, and studied law in Texas. Coleman had a well deserved reputation as a fine character actor, and a reliable presence for almost any role in TV and movies.
Coleman's early appearances in the cinema were in The Slender Thread (1965) and Downhill Racer (1969). On TV he starred in That Girl (1966). As the 1970s approached he became a well-known character actor in television and movies, appearing in The Towering Inferno (1974), Midway (1976), and Cinderella Liberty (1973). Television seemed Coleman's forum in the 1970s as he played the role of Merle Jeeter in Mary Hartman, Mary Hartman (1976) and Fernwood Tonight (1977). Coleman made appearances in the popular North Dallas Forty (1979) and the Oscar-winning Melvin and Howard (1980).
He first garnered a measure of fame for some satirical movies, starring in the comedy How to Beat the High Cost of Living (1980) and snatched a lead role for the TV movie Pray TV (1980). Coleman's reputation for playing world-class jerks became cemented in 1980 as the boss to Dolly Parton , Jane Fonda and Lily Tomlin in 9 to 5 (1980). The next year, he was in very good company working with legends Henry Fonda and Katharine Hepburn in On Golden Pond (1981). His hit streak would not end there.
In 1982, Coleman landed a key role in the classic Tootsie (1982), further cementing his role as a very dislikable wealthy boss in some capacity. In 1983, he starred in the Cold War classic WarGames (1983). During this period he also found many parts in lesser known movies like Young Doctors in Love (1982) and Callie & Son (1981). In 1984 he starred in The Muppets Take Manhattan (1984) and in 1985 he starred with Tom Hanks in The Man with One Red Shoe (1985). In 1987, he won an Emmy for Sworn to Silence (1987). In 1990, he took two lead roles, one in the disastrous Where the Heart Is (1990), and the other in the quirky comedy Short Time (1990).
In 1993, he starred in the slapstick comedy Amos & Andrew (1993) (a very funny part) and in a remake of the TV show The Beverly Hillbillies (1993) as Milburn Drysdale. Coleman took an extensive line of TV movies, such films as Texan, In the Line of Duty, among others. He took an unusual part in the ABC cartoon, Recess (1997), and then starred in a couple of big money grossers, the Tom Hanks comedy, You've Got Mail (1998), as Chief Quimby in Inspector Gadget (1999), and in Stuart Little (1999), both 1999.
Coleman died in 2024, aged 92, in Santa Monica, California.- Actress
- Producer
- Soundtrack
Florence Pugh is an English actress. She is known for Midsommar (2019), Little Women (2019), her MCU debut Black Widow (2021), and Fighting with My Family (2019).
Pugh made her film debut in The Falling (2014). She also appears in Lady Macbeth (2016), Outlaw King (2018), Malevolent (2018), and the AMC Mini-Series The Little Drummer Girl (2018).
In 2018, she was nominated for a BAFTA EE Rising Star Award. In 2020, she was nominated for an Oscar and a BAFTA Film Award for Best Supporting Actress for her role as Amy March in Little Women.- As a rising talent, Raegan Revord is steadily building an impressive body of work and quickly making a name for herself in Hollywood.
Raegan stars in CBS's hit comedy series Young Sheldon as fan-favorite 'Missy Cooper', the title character's sassy and brash twin sister. Set as a prequel to the Emmy-nominated The Big Bang Theory, the series consistently been one of prime time's most watched comedies.
Off screen, Raegan is a dedicated writer and is authoring a debut YA novel titled Rules for Fake Girlfriends, set to publish in the Fall of 2025 by Wednesday Books.
Raegan is also an avid reader and used Instagram to launch her own book club, Read With Raegan, which has over 63k followers. The online book club is a space where young adults, like Raegan, can come together and celebrate everything there is to love about books, including favorite reads, author interviews, and more. Since it's launch in 2022, the book club had grown into a community of thought-provoking recommendations and conversations.
Raegan's passions also extend into her local community. Her desire to help the less fortunate sparked an idea to create Homeless Helpers, a local initiative aimed at providing small care packages and other necessary items for those who are without homes. Additionally, she is a passionate and outspoken advocate for rescuing animals and is a Junior Ambassador for Children's Hospital Los Angeles. - Actor
- Producer
- Director
Mel Columcille Gerard Gibson was born January 3, 1956 in Peekskill, New York, USA, as the sixth of eleven children of Hutton Gibson, a railroad brakeman, and Anne Patricia (Reilly) Gibson (who died in December of 1990). His mother was Irish, from County Longford, while his American-born father is of mostly Irish descent.
Mel and his family moved to Australia in the late 1960s, settling in New South Wales, where Mel's paternal grandmother, contralto opera singer Eva Mylott, was born. After high school, Mel studied at the University of New South Wales in Sydney, performing at the National Institute of Dramatic Arts alongside future film thespians Judy Davis and Geoffrey Rush.
After college, Mel had a few stints on stage and starred in a few TV shows. Eventually, he was chosen to star in the films Mad Max (1979) and Tim (1979), co-starring Piper Laurie. The small budgeted Mad Max made him known worldwide, while Tim garnered him an award for Best Actor from the Australian Film Institute (equivalent to the Oscar).
Later, he went on to star in Gallipoli (1981), which earned him a second award for Best Actor from the AFI. In 1980, he married Robyn Moore and had seven children. In 1984, Mel made his American debut in The Bounty (1984), which co-starred Anthony Hopkins.
Then in 1987, Mel starred in what would become his signature series, Lethal Weapon (1987), in which he played "Martin Riggs". In 1990, he took on the interesting starring role in Hamlet (1990), which garnered him some critical praise. He also made the more endearing Forever Young (1992) and the somewhat disturbing The Man Without a Face (1993). 1995 brought his most famous role as "Sir William Wallace" in Braveheart (1995), for which he won two Oscars for Best Picture and Best Director.
From there, he made such box office hits as The Patriot (2000), Ransom (1996), and Payback (1999). Today, Mel remains an international superstar mogul, continuously topping the Hollywood power lists as well as the Most Beautiful and Sexiest lists.- Actor
- Producer
Nicholas Edward Gonzalez is an American actor. He is best known for playing the roles of Alex Santiago on the Showtime television series Resurrection Blvd. and Dr. Neil Melendez on the ABC television series The Good Doctor. Born in San Antonio, Texas, Gonzalez is conversant in Spanish, having lived in a bilingual household. He attended Central Catholic High School in San Antonio, where he was an accomplished cross-country and track runner, winning the Texas State Championship in the mile and two-mile. After graduating in 1994 and turning down a presidential appointment to West Point, Gonzalez pursued an English degree at Stanford University in California. He spent two terms at Oxford University in England. The following summer, he returned to Europe on a research grant where he studied at Oxford and Trinity College, Dublin to complete his thesis on James Joyce's Ulysses. While at Stanford he had chanced on acting after taking an improvisational theatre elective and began taking part in student theater. He was approached to do a one-man theater piece called Gas by María Irene Fornés. Alma Martinez, an actress and Stanford professor, encouraged him to become a professional actor. Upon graduating from Stanford in 1998 Gonzalez decided to pursue acting and, with Martinez's help, connected with the theatrical movement in San Francisco. He was once encouraged to use his middle name Edward to conceal his ethnicity and go by "Nicholas Edward" but declined to do so.- Leah Gibson is a Canadian/American award-winning film and TV actress, having worked on over fifty professional productions over the past 15 years. Both touted as leading-lady and established character actor, her diverse body of work encompasses TV series, mini-series, indie films and studio features - most notably, Marvel's JESSICA JONES, Summit Entertainment's TWILIGHT SAGA: ECLIPSE, Warner Brother's WATCHMEN, DC Comics' BATWOMAN, leading the Paramount+ action film MERCY, opposite Jonathan Rhys Meyers and Jon Voight, and Paramount+ JOE PICKETT, based on CJ Box's renown book series, in which she won a UBCP Award for Best Supporting Actress.
- Actress
- Producer
- Writer
Together with her younger sister, Crystal McKellar, she began acting at a young age in her mother's dance studio. In 1982 the family moved to Los Angeles and a few years later she appeared in her first commercial. A few guest appearances in The Twilight Zone (1985) was followed by her breakthrough in The Wonder Years (1988). She has had good grades in math and French. In her spare time she likes to go skiing, swimming and surfing.- Actor
- Producer
- Director
You've seen him. You've heard him. Appearing across platforms such as television, feature film, animation, video games, commercials, talking toys, promotion, narration, and internet; as a result, Mars is affectionately referred to as "That Guy From That Show".
Originally from Warwick, RI, Marsden and his family relocated to Los Angeles and soon he was thrust into the entertainment business. Quickly landing commercials, on-camera and radio. Marsden's first recurring role was on "General Hospital" as Alan Quartermaine Jr.. Soon after, Mars was cast as Eddie Munster on the 80's revamp, "The Munsters Today" with John Schuck and Lee Meriwether, in an 86 episode, three season run! Marsden's career continued to blossom when he joined the cast of the critically respected "Eerie Indiana" (now on Amazon). From there, Marsden continued to work on pilots and series, guest staring and recurring roles, and appearances in feature films through the mid 90s! To name a few, "Blossom","Baywatch" "Tales from the Crypt", "Ally McBeal", "Will & Grace", "Just Shoot Me", and most notably his recurring appearances in "Full House", "Boy Meets World", and ultimately joined the cast of "Step by Step".
In feature films; Jason played a young Billy Crystal in Crystal's directorial debut "Mr. Saturday Night". You might have spotted Jason in "Fun With Dick and Jane", as a Convenience Clerk who botches Jim Carrey's shoplifting attempt. At age 20, Jason landed the job of a lifetime when Sir Ridley Scott cast him in "White Squall", opposite Jeff Bridges along with an ensemble of talent. The film shot in 8 countries around the world in 4 months. Marsden also appeared in Steve Taylor's indie hit, "Blue Like Jazz" and will appear in the upcoming indie horror "The Other People".
During his 35-plus-years as an actor, Jason built an outstanding legacy in Voice Over. Performing in hundreds of animated cartoon series, feature films, video games, toys, and counting! Amongst the most popular, Mars is the voice of Goofy's son, Max, in "A Goofy Movie" and the follow up "Extremely Goofy Movie", Thackery Binx in "Hocus Pocus", "Kovu" the rogue lion in "Lion King 2", Chester McBadbat in "Fairly Odd Parents", Nermal in "The Garfield Show", Conrad 'Duke' Hauser in "GI JOE: Renegades", and appearing in episodes of "Ultimate Spiderman","Batman: Brave and Bold", "Avatar: Legend of Korra" to name a few more. A fan fave is Jason's performance in Hayao Miyazaki's Academy Award winning "Spirited Away", as Haku the mysterious boy/dragon. Jason absolutely loves working in animation! Getting to working with the talented voice over artists that he used to listen to while watching Saturday morning cartoons as a kid is a dream come true! Notable projects include: futuristic speedster, Impulse/Kid Flash in DC's "Young Justice", "Transformers - Rescue Bots", "Monsters U", "Secret Life of Pets", "DuckTales", and the popular video game, "Skyrim".
Marsden lives in Nashville, TN and produces The Mars Variety Show now on YouTube.- Actor
- Director
- Additional Crew
Born and raised in New York City, Robert Loggia studied journalism at the University of Missouri before moving back to New York to pursue acting. He trained at the Actors Studio while doing stage work. From the late 1950s he was a familiar face on TV, usually as authoritative figures. Loggia also found work in movies such as The Greatest Story Ever Told (1965), Scarface (1983) and Big (1988). Always in demand, Loggia worked until his death, at 85, from complications of Alzheimer's.- Actress
- Producer
- Executive
Principal is the elder daughter of Ree (née Veal) and Victor Rocco Principal. Her paternal grandparents were Italian, while her mother's family was from Gordon, Georgia, and South Carolina. Her father, a United States Air Force sergeant, was often transferred to different duty stations, so the family constantly moved, and Victoria grew up in London, Florida, Puerto Rico, Massachusetts, and Georgia, among other places. She and her sister attended 17 different schools. Victoria's acting career began when she made a commercial at age five, and she began modeling in high school. She enrolled at Miami-Dade Community College, and wanted to study chiropractic medicine. However, being seriously injured in a car crash at age 18 made her refocus her energy on her love of acting. She moved to New York City, where she worked as a model and actress. She then studied at London's Royal Academy of Dramatic Art, and moved to Los Angeles, California in 1971.
Her first film was as a Mexican mistress in The Life and Times of Judge Roy Bean (1972), starring Paul Newman. Four years later, she became so disappointed with her career that she quit acting and spent the next three years working as an agent. In 1978, she planned on going to law school and later become a studio executive, but Aaron Spelling offered her a year's tuition to accept a role in the pilot of Fantasy Island (1977). She agreed, and soon after that, she landed the role of Pamela Barnes Ewing on CBS' long-running soap opera Dallas (1978). She left the series after nine years, and began her own production company, Victoria Principal Productions. She continues to work as an actress and producer, and has also created a line of skin care products and written three books about beauty and skin-care.- Actress
- Writer
Sarah Alexander was born on 3 January 1971 in London, England, UK. She is an actress and writer, known for Stardust (2007), Green Wing (2004) and Coupling (2000). She is married to Peter Serafinowicz. They have two children.- Actress
- Writer
- Director
Jeananne Goossen is a dual citizen of the US and Canada, raised in Toronto, New York and various cities in Japan.
Her mother, Tam Goossen, is from Hong Kong and became an activist and municipally elected official in education after immigrating to Toronto. Her father, Ted Goossen, from Manhattan, NY, is a professor of Japanese literature and film, and a renowned translator of Japanese fiction (including the works of Haruki Murakami).
In Toronto Jeananne attended bilingual programs in French, and Japanese language schools in Japan. She spent most of her childhood in the eclectic Toronto area of Kensington Market/Chinatown.
Jeananne turned down opportunities to play college basketball and volleyball to spend time traveling, and to focus on Biochemistry, her major at McGill University in Montreal. Her original sights were on becoming a gynecologist, but she was drawn to the performing arts, and left Montreal to attend York University's prestigious program for a brief period before booking her first role.
The roles of Sonia in The Vow, Tomoe Gozen in SyFy's Riverworld, Courtney True on ABC family's Falcon Beach, and Nula, in her film debut opposite Tom Cavanaugh in the TIFF film Breakfast With Scot, garnered her enough buzz to make the move from Toronto to Los Angeles.
In her first year in LA, she guest starred in a half dozen shows, most notably Nikki in JJ Abram's Alcatraz, and landed the lead role of Jennifer Mason opposite Kevin Bacon in the pilot of The Following. A few months later, Jeananne booked the role of Krista Bell-Hart on the NBC show The Night Shift.
Since then she has made appearances in shows ranging from The Walking Dead, to Nashville, to Criminal Minds.
Jeananne speaks Japanese, French and some Cantonese and Mandarin. She plays guitar and piano and has always been a singer, which led to her role Vita, on Nashville, where she recorded 2 songs available on iTunes.- Actress
- Producer
- Soundtrack
Frankie Adams is a New Zealand-Samoan actress, Best known for playing fan favorite "Bobbie Draper" in the Amazon series The Expanse, Frankie can also be seen in the limited series The Flowers of Alice Hart opposite Sigourney Weaver for Amazon as well as Taika Waititi's Next Goal Wins. Her credits include the NZ limited series The Panthers which premiered at TIFF, Peter Jackson's Mortal Engines for Universal and the lead of director Tusi Tamasese's feature One Thousand Ropes which premiered at the Berlin Film Festival, the follow-up to his Samoan film The Orator, both of which were shortlisted for the Academy Awards foreign-language category from New Zealand. Frankie's additional credits include the Luc Besson feature Valerian with Dane DeHaan and Cara Delevingne, a recurring role on the award-winning Australian series Wentworth, and five seasons of the long running NZ series Shortland Street.- Second Unit Director or Assistant Director
- Writer
- Director
Sergio Leone was virtually born into the cinema - he was the son of Roberto Roberti (A.K.A. Vincenzo Leone), one of Italy's cinema pioneers, and actress Bice Valerian. Leone entered films in his late teens, working as an assistant director to both Italian directors and U.S. directors working in Italy (usually making Biblical and Roman epics, much in vogue at the time). Towards the end of the 1950s he started writing screenplays, and began directing after taking over The Last Days of Pompeii (1959) in mid-shoot after its original director fell ill. His first solo feature, The Colossus of Rhodes (1961), was a routine Roman epic, but his second feature, A Fistful of Dollars (1964), a shameless remake of Akira Kurosawa's Yojimbo (1961), caused a revolution. It was the first Spaghetti Western, and shot T.V. cowboy Clint Eastwood to stardom (Leone wanted Henry Fonda or Charles Bronson but couldn't afford them). The two sequels, For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966), were shot on much higher budgets and were even more successful, though his masterpiece, Once Upon a Time in the West (1968), in which Leone finally worked with Fonda and Bronson, was mutilated by Paramount Pictures and flopped at the U.S. box office. He directed Duck, You Sucker! (1971) reluctantly (as producer he hired Peter Bogdanovich to direct but he left before shooting began), and turned down offers to direct The Godfather (1972) in favor of his dream project, which became Once Upon a Time in America (1984). He died in 1989 after preparing an even more expensive Soviet co-production on the World War II siege of Leningrad.- Actor
- Camera and Electrical Department
Karl Glusman was born on 3 January 1988 in The Bronx, New York City, New York, USA. He is an actor, known for Love (2015), Devs (2020) and Watcher (2022). He was previously married to Zoë Kravitz.- Actress
- Soundtrack
Nicole Beharie is an American actress.
Her critically acclaimed film debut was in the film American Violet (2008) alongside Alfre Woodard, Tim Blake Nelson and Will Patton. Beharie also played Ernie Davis' girlfriend in the movie The Express (2008). Her upcoming projects include My Last Day Without You (2011) and Steve McQueen's Shame (2011) opposite Michael Fassbender.
Beharie developed a passion for acting and performing as a child. She attended South Carolina Governor's School for the Arts and Humanities in Greenville, SC. She was the first student from the Governor's school to be accepted into Juilliard Drama School in NYC.- Chasty Rose Ballesteros is a Canadian actress of Filipino descent who has had roles in Smallville, Supernatural, Psych, Sanctuary, Modern Family, The Big Bang Theory, and How I Met Your Mother. Raised in Winnipeg, Ballesteros moved to Vancouver after high school, to pursue a career as a hairstylist and a manager of a hair salon as well as a model and an actress.
- Actor
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Ray Milland became one of Paramount's most bankable and durable stars, under contract from 1934 to 1948, yet little in his early life suggested a career as a motion picture actor.
Milland was born Alfred Reginald Jones in the Welsh town of Neath, Glamorgan, to Elizabeth Annie (Truscott) and Alfred Jones. He spent his youth in the pursuit of sports. He became an expert rider early on, working at his uncle's horse-breeding estate while studying at the King's College in Cardiff. At 21, he went to London as a member of the elite Household Cavalry (Guard for the Royal Family), undergoing a rigorous 19-months training, further honing his equestrian skills, as well as becoming adept at fencing, boxing and shooting. He won trophies, including the Bisley Match, with his unit's crack rifle team. However, after four years, he suddenly lost his means of financial support (independent income being a requirement as a Guardsman) when his stepfather discontinued his allowance. Broke, he tried his hand at acting in small parts on the London stage.
There are several stories as to how he derived his stage name. It is known, that during his teens he called himself "Mullane", using his stepfather's surname. He may later have suffused "Mullane" with "mill-lands", an area near his hometown. When he first appeared on screen in British films, he was billed first as Spike Milland, then Raymond Milland.
In 1929, Ray befriended the popular actress Estelle Brody at a party and, later that year, visited her on the set of her latest film, The Plaything (1929). While having lunch, they were joined by a producer who persuaded the handsome Welshman to appear in a motion picture bit part. Ray rose to the challenge and bigger roles followed, including the male lead in The Lady from the Sea (1929). The following year, he was signed by MGM and went to Hollywood, but was given little to work with, except for the role of Charles Laughton's ill-fated nephew in Payment Deferred (1932). After a year, Ray was out of his contract and returned to England.
His big break did not come until 1934 when he joined Paramount, where he was to remain for the better part of his Hollywood career. During the first few years, he served an apprenticeship playing second leads, usually as the debonair man-about-town, in light romantic comedies. He appeared with Burns and Allen in Many Happy Returns (1934), enjoyed third-billing as a British aristocrat in the Claudette Colbert farce The Gilded Lily (1935) and was described as "excellent" by reviewers for his role in the sentimental drama Alias Mary Dow (1935). By 1936, he had graduated to starring roles, first as the injured British hunter rescued on a tropical island by The Jungle Princess (1936), the film which launched Dorothy Lamour's sarong-clad career. After that, he was the titular hero of Bulldog Drummond Escapes (1937) and, finally, won the girl (rather than being the "other man") in Mitchell Leisen's screwball comedy Easy Living (1937). He also re-visited the tropics in Ebb Tide (1937), Her Jungle Love (1938) and Tropic Holiday (1938), as well as being one of the three valiant brothers of Beau Geste (1939).
In 1940, Ray was sent back to England to star in the screen adaptation of Terence Rattigan's French Without Tears (1940), for which he received his best critical reviews to date. He was top-billed (above John Wayne) running a ship salvage operation in Cecil B. DeMille's lavish Technicolor adventure drama Reap the Wild Wind (1942), besting Wayne in a fight - much to the "Duke's" personal chagrin - and later wrestling with a giant octopus. Also that year, he was directed by Billy Wilder in a charming comedy, The Major and the Minor (1942) (co-starred with Ginger Rogers), for which he garnered good notices from Bosley Crowther of the New York Times. Ray then played a ghost hunter in The Uninvited (1944), and the suave hero caught in a web of espionage in Fritz Lang's thriller Ministry of Fear (1944).
On the strength of his previous role as "Major Kirby", Billy Wilder chose to cast Ray against type in the ground-breaking drama The Lost Weekend (1945) as dipsomaniac writer "Don Birnam". Ray gave the defining performance of his career, his intensity catching critics, used to him as a lightweight leading man, by surprise. Crowther commented "Mr. Milland, in a splendid performance, catches all the ugly nature of a 'drunk', yet reveals the inner torment and degradation of a respectable man who knows his weakness and his shame" (New York Times, December 3, 1945). Arrived at the high point of his career, Ray Milland won the Oscar for Best Actor, as well as the New York Critic's Award. Rarely given such good material again, he nonetheless featured memorably in many more splendid films, often exploiting the newly discovered "darker side" of his personality: as the reporter framed for murder by Charles Laughton's heinous publishing magnate in The Big Clock (1948); as the sophisticated, manipulating art thief "Mark Bellis" in the Victorian melodrama So Evil My Love (1948) (for which producer Hal B. Wallis sent him back to England); as a Fedora-wearing, Armani-suited "Lucifer", trawling for the soul of an honest District Attorney in Alias Nick Beal (1949); and as a traitorous scientist in The Thief (1952), giving what critics described as a "sensitive" and "towering" performance. In 1954, Ray played calculating ex-tennis champ "Tony Wendice", who blackmails a former Cambridge chump into murdering his wife, in Alfred Hitchcock's Dial M for Murder (1954). He played the part with urbane sophistication and cold detachment throughout, even in the scene of denouement, calmly offering a drink to the arresting officers.
With Lisbon (1956), Ray Milland moved into another direction, turning out several off-beat, low-budget films with himself as the lead, notably High Flight (1957), The Safecracker (1958) and Panic in Year Zero! (1962). At the same time, he cheerfully made the transition to character parts, often in horror and sci-fi outings. In accordance with his own dictum of appearing in anything that had "any originality", he worked on two notable pictures with Roger Corman: first, as a man obsessed with catalepsy in The Premature Burial (1962); secondly, as obsessed self-destructive surgeon "Dr. Xavier" in X: The Man with the X-Ray Eyes (1963)-the Man with X-Ray Eyes, a film which, despite its low budget, won the 1963 Golden Asteroid in the Trieste Festival for Science Fiction.
As the years went on, Ray gradually disposed of his long-standing toupee, lending dignity through his presence to many run-of-the-mill television films, such as Cave in! (1983) and maudlin melodramas like Love Story (1970). He guest-starred in many anthology series on television and had notable roles in Rod Serling's Night Gallery (1969) and the original Battlestar Galactica (1978) (as Quorum member Sire Uri). He also enjoyed a brief run on Broadway, starring as "Simon Crawford" in "Hostile Witness" (1966), at the Music Box Theatre.
In his private life, Ray was an enthusiastic yachtsman, who loved fishing and collecting information by reading the Encyclopedia Brittanica. In later years, he became very popular with interviewers because of his candid spontaneity and humour. In the same self-deprecating vein he wrote an anecdotal biography, "Wide-Eyed in Babylon", in 1976. A film star, as well as an outstanding actor, Ray Milland died of cancer at the age of 79 in March 1986.- Actor
- Producer
He was the working class boy from Manchester whose intensity and natural honesty made him British television's most bankable actor. He studied at the Royal Academy of Dramatic Art. His first starring role on TV was as Sgt John Mann in Redcap (1964). His first great success, though, was as Detective Inspector Regan in The Sweeney (1975). Violent and uncompromising, the series changed the portrayal of police work on British television and was one of the defining dramas of the 1970s.
For Inspector Morse (1987), Thaw was yet again cast as a policeman, but this time a more cultured character than Regan. The leisurely-paced series, set in beautiful Oxfordshire, was Thaw's most popular and long-running project. It established him as British television's most bankable actor, and during the 1990s he had many other starring vehicles. He was also a favourite of film director Richard Attenborough, who cast him in Cry Freedom (1987) and Chaplin (1992).
John Thaw was a quiet, private man. His marriage to actress Sheila Hancock was generally regarded as one of the strongest in showbusiness. When he died at the age of 60, the BBC website was inundated with tributes from the viewing public. His "Inspector Morse" co-star Kevin Whately simply described him as the country's finest screen actor.- Actress
- Additional Crew
- Soundtrack
Anna May Wong, the first Chinese-American movie star, was born Wong Liu Tsong on January 3, 1905, in Los Angeles, California, to laundryman Wong Sam Sing and his wife, Lee Gon Toy. A third-generation American, she managed to have a substantial acting career during a deeply racist time when the taboo against miscegenation meant that Caucasian actresses were cast as "Oriental" women in lead parts opposite Caucasian leading men. Even when the role called for playing opposite a Caucasian in yellowface, as with Paul Muni's as the Chinese peasant Wang Lung in The Good Earth (1937), Wong was rejected, since she did not fit a Caucasian's imagined ideal look for an Asian woman. The discrimination she faced in the domestic industry caused her to go to Europe for work in English and German films. Her name, which she also spelled Wong Lew Song, translates literally as "Frosted Yellow Willows" but has been interpreted as "Second-Daughter Yellow Butterfly." Her family gave her the English-language name Anna May. She was born on Flower Street in downtown Los Angeles in an integrated neighborhood dominated by Irish and Germans, one block from Chinatown, where her father ran the Sam Kee Laundry.
The Wong family moved back to Chinatown two years after Liu Tsong's birth, but in 1910 they uprooted themselves, moving to a nearby Figueroa Street neighborhood where they had Mexican and East European neighbors. There were two steep hills between the Wongs' new home and Chinatown, but as her biographer, Colgate University history professor Graham Russell Gao Hodges, points out, those hills put a psychological as well as physical distance between Liu Tsong and Chinatown. Los Angeles' Chinatown already was teeming with movie shoots when she was a girl. She would haunt the neighborhood nickelodeons, having become enraptured with the early "flickers." Though her traditional father strongly disapproved of his daughter's cinephilia, as it deflected her from scholastic pursuits, there was little he could do about it, as Liu was determined to be an actress. The film industry was in the midst of relocating from the East Coast to the West, and Hollywood was booming. Liu Tsong would haunt movie shoots as she had earlier haunted the nickelodeons. Her favorite stars were Pearl White, of The Perils of Pauline (1914) serial fame, and White's leading man, Crane Wilbur. She was also fond of Ruth Roland.
Educated at a Chinese-language school in Chinatown, she would skip school to watch film shoots in her neighborhood. She made tip money from delivering laundry for her father, which she spent on going to the movies. Her father, if he discovered she had gone to the movies during school hours, would spank her with a bamboo stick. Around the time she was nine years old, she began begging filmmakers for parts, behavior that got her dubbed "C.C.C." for "curious Chinese child."
Liu Tsong's first film role was as an uncredited extra in Metro Pictures' The Red Lantern (1919), starring Alla Nazimova as a Eurasian woman who falls in love with an American missionary. The film included scenes shot in Chinatown. The part was obtained for her by a friend of her father's (without his knowledge) who worked in the movie industry. Retaining the family surname "Wong" and the English-language "Christian" name bestowed on her by her parents, Liu Tsong Americanized herself as "Anna May Wong" for the movie industry, though she would not receive an on-screen credit for another two years.
The rechristened Anna May Wong appeared in bit parts in movies starring Priscilla Dean, Colleen Moore and the Japanese-born Sessue Hayakawa, the first Asian star of American movies. Due to her father's demands, she had an adult guardian at the studio, and would be locked in her dressing room between scenes if she was the only Asian in the cast. Initially balancing school work and her budding film career, she eventually dropped out of Los Angeles High School to pursue acting full time. She was aided by the fact that, though still a teenager, she looked more mature than her real age.
Director Marshall Neilan cast the teenage Anna May in a bit part in his film Dinty (1920), then gave her her first credited role in the "Hop" sequence of Bits of Life (1921), the American movie industry's first anthology film. In "Hop" Wong played Toy Ling, the abused wife of Lon Chaney's character Chin Gow, which the Man of a Thousand Faces played in yellowface. She next appeared in support of John Gilbert in Fox's Shame (1921) before being cast in her first major role at the age of 17, the lead in The Toll of the Sea (1922). She played Lotus Flower in this adaptation of the opera "Madame Butterfly," which moved the action from Japan to China. "The Toll of the Sea" was the first feature film shot entirely in Technicolor's two-strip color process. By appearing top-billed in this romantic melodrama, Anna became the first native-born Asian performer to star in a major Hollywood movie. Most portrayals of Asian women were done by Caucasian actresses in "yellow-face," such as the 1915 Madame Butterfly (1915) starring "America's Sweetheart" Mary Pickford (who was born in Toronto, Canada) in the title role. In "The Toll of the Sea," Anna May's character perpetuates the stereotype of the Asian "lotus blossom," a self-sacrificial woman who surrenders her life for the love of a Caucasian man. The film was a hit, and it showcased Wong in a preternaturally mature and restrained performance. This breakthrough should have launched Anna May Wong as a star, but for one thing: She was Chinese in a country that excluded (by law) Chinese from emigrating to the US, that forbade (by law) Chinese from marrying Caucasians and that generally excluded (by law or otherwise) Chinese from the culture at large, except for bit roles as heavies in the national consciousness.
"The Toll of the Sea" made Anna May Wong a known, and thus a marketable, commodity in Hollywood. She became the #1 actress when a young Asian female part had to be cast, but unfortunately lead roles for Asians were few and far between. Instead of becoming a star, this beautiful woman with a complexion described as "a rose blushing through old ivory" continued to be stuck in supporting roles, as in Tod Browning's melodrama Drifting (1923) and the western Thundering Dawn (1923). She even played an Eskimo in The Alaskan (1924). She appeared as Tiger Lily, "Chieftainess of the Indians," in Paramount's prestigious production of J.M. Barrie's Peter Pan (1924), but the role was very small (the film was shot on Santa Catalina Island, where the cast stayed during the production.
The 170-cm-tall (5'7", although other sources cite her height as 5'4½") beauty was known as the world's best-dressed woman and widely considered to have the loveliest hands in the cinema. Her big breakthrough after her auspicious start with "The Toll of the Sea" finally came when Douglas Fairbanks cast her in a supporting role as a treacherous Mongol slave in his Middle Eastern/Arabian Nights extravaganza The Thief of Bagdad (1924). The $2-million blockbuster production made her known to critics and the movie-going public. For better or worse, a star, albeit of the stereotypical "Dragon Lady" type, was born.
Despite her waxing fame, she was limited to supporting roles, as Caucasian actresses, including most improbably Myrna Loy, continued to be cast as Asian women in lead roles from the 1920s through the 1940s, despite the ready availability of Anna May Wong. She was unable to attract lead parts despite her beauty and proven acting talent, even in films featuring Asian women, but she did carve out a career as a supporting player in everything from A-list movies to two-reel comedies and serials. The characters she played typically were duplicitous or murderous vamps who often reaped the wages of their sin by being raped. It was a demeaning apprenticeship that most Caucasian actresses did not have to go through. Anna wanted was to play modern American women all through her career but was thwarted because of racism. Later, when she journeyed to Europe to escape the typecasting of Hollywood, she told journalist Doris Mackie, "I was so tired of the parts I had to play. Why is it that the screen Chinese is always the villain? And so crude a villain--murderous, treacherous, a snake in the grass."
Wong embodied the Caucasian ideal of a foreign exotic beauty, an alien presence despite her American citizenship. The movie magazine "Pictures" published a memoir of hers in 1926 in which she complained, "A lot of people, when they first meet me, are surprised that I speak and write English without difficulty. But why shouldn't I? I was born right here in Los Angeles and went to the public schools here. I speak English without any accent at all. But my parents complain that the same cannot be said of my Chinese. Although I have gone to Chinese schools, and always talk to my father and mother in our native tongue, it is said that I speak Chinese with an English accent!". Many Chinese-Americans considered themselves "Chinese in America," an attitude bolstered by the anti-Chinese, anti-Asian attitude of the US government and the American culture. In her memoir, Wong referred to herself as "Chinese" or "Americanized Chinese," but not as an "American" or "Chinese-American."
Anna May Wong appeared as a dancer in a play within a movie shot in Technicolor for the Ronald Colman vehicle His Supreme Moment (1925), but her Hollywood output generally was undistinguished. In 1926 she seems to have appeared in a "race" film made by Chinese-Americans for a Chinese-American audience, The Silk Bouquet (1926) (aka "The Dragon Horse"). Moving between Poverty Row and the majors, she appeared again with Lon Chaney in Mr. Wu (1927) at MGM and with Warner Oland and Dolores Costello in Old San Francisco (1927) at Warner Brothers. Warners also cast her in support of Oriental yellowface queen Myrna Loy in The Crimson City (1928). Despite her WASP looks and red hair, Loy in Chinese yellowface had become a major "Oriental" star in American films desiring an exotic element. This indignity may have been what pushed Wong to seek her future somewhere other than Hollywood.
She moved to Europe in 1928, where she made movies in the UK and Germany. She made her debut on the London stage with the young up-and-coming Laurence Olivier in the play "The Circle of Chalk." After receiving a drubbing for her voice and singing from the London critics, she paid a Cambridge University tutor to improve her speech, with the result that she acquired an upper-crust English accent. Later she appeared in Vienna, Austria, in the play "Springtime."
European directors appreciated Wong's unique talents and beauty, and they used her in ways that stereotype-minded Hollywood, hemmed in by American prejudice, would not or could not. Moving to Germany to appear in German films, she became acquainted with German film personalities, including Marlene Dietrich and actress-filmmaker Leni Riefenstahl. She learned German and French and began to develop a continental European attitude and outlook. In Europe she was welcomed as a star. According to her biographer Graham Russell Gao Hodges, Wong hobnobbed with "an intellectual elite that included princes, playwrights, artists and photographers who clamored to work with her." Anna May Wong was featured in magazines all over the world, far more than actresses of a similar level of accomplishment. She became a media superstar, and her coiffure and complexion were copied, while "coolie coats" became the rage. According to Hodges, "[S]he was the one American star who spoke to the French people, more than Greta Garbo, Joan Crawford or Mary Pickford, the top American actresses of the time." But, ironically, "[S]he's the one who's now forgotten." Wong was cast in Ewald André Dupont's silent film Piccadilly (1929) as a maid who is fired from her job at a London nightclub after dancing on top of a table, then rehired as a dancer to infuse the club with exotic glamour. Her first talkie was The Flame of Love (1930) (aka "The Road to Dishonour", although some sources claim it was "Song" aka "Wasted Love" in that same year), which was released by British International Pictures. In a time before dubbing, when different versions of a single film were filmed in different languages, Wong played in the English, French and German versions of the movie.
Paramount Pictures offered her a contract with the promise of lead roles in major productions. Returning to the US in 1930, Wong appeared on Broadway in the play "On the Spot." It was a hit, running for 167 performances, and she moved on to Hollywood and Paramount, where she starred in an adaptation of Sax Rohmer's novel "Daughter of Fu Manchu" called Daughter of the Dragon (1931). She was back in stereotype-land, this time as the ultimate "Dragon Lady," who with her father Fu Manchu (played by ethnic Swede Warner Oland, the future Charlie Chan) embodied the evil "Yellow Peril." While "Daughter of the Dragon" may have been B-movie pulp, it enabled Wong to show off her talent by delivering a powerful performance.
Her best role in Hollywood in the early 1930s was in support of Marlene Dietrich in Josef von Sternberg's Oscar-winning classic Shanghai Express (1932). However, Hollywood in the 1930s was as racist as it had been in the Roaring Twenties, and MGM refused to cast her in its 1932 production of The Son-Daughter (1932), for which she did a screen-test, as she was "too Chinese to play a Chinese." Helen Hayes played the role in yellow-face. Similarly, she was later kept out of both a lead and supporting role in MGM's prestige production of The Good Earth (1937), its filming of Pearl S. Buck's popular novel, after flunking another screen test for failing to live up to a white man's idea of what "looked" Chinese. MGM screen-tested her for the lead role of O-Lan, the sympathetic wife of Chinese farmer Wang Lung (to be played by Paul Muni, personally cast in the part by Irving Thalberg). She also was considered for the supporting role of Lotus, Wang Lung's concubine. Anna, an ethnic Chinese, lost out on both roles to two Austrian women, Luise Rainer and Tilly Losch, as Albert Lewin, the Thalberg assistant who was casting the film, vetoed Wong and other ethnic Chinese because their looks didn't fit his conception of what Chinese people should look like. Ironically, the year "The Good Earth" came out, Wong appeared on the cover of Look Magazine's second issue, which labeled her "The World's Most Beautiful Chinese Girl." Stereotyped in America as a dragon lady, the cover photo had her holding a dagger. Luise Rainer would win the Best Actress Oscar for her performance of O-Lan in Chinese yellowface.
There were practical considerations for MGM's refusal to cast Wong opposite Muni. It was illegal in many states, including California, for Asians to marry Caucasians, and featuring an interracial couple, even if they were playing the same race, likely would mean the movie would be rejected by many theater chains in regions in which anti-Asian prejudice was particularly severe, such as the South. The new Motion Picture Production Code of 1934 forbid black/white miscegenation and MGM did cast Walter Connelly (a white actor) opposite Soo Yong (a Chines-American actress) as a married couple. Anna May returned to England, reportedly distraught at the injustice perpetrated by MGM and her home country. In England she alternated between films and the stage, but she was obliged to return to the US to fulfill her Paramount contract. She appeared in two Robert Florey-directed pictures, Daughter of Shanghai (1937) as a non-stereotypical Asian-American female lead, and Dangerous to Know (1938). She also appeared in major roles in King of Chinatown (1939) and Island of Lost Men (1939).
Anna May Wong did not appear in films from 1939-41, when she was cast as a supporting player in Ellery Queen's Penthouse Mystery (1941), an entry in the B-movie series. Her last two starring roles in films were in a pair of anti-Japanese propaganda films, Bombs Over Burma (1942) and Lady from Chungking (1942), both of which were made by Producers Releasing Corp., the lowest of the Poverty Row studios. The major studios, when shooting propaganda films requiring a sympathetic Asian lead, reverted to the old practice of casting Caucasians in yellow-face, no matter how absurd the result.
As her movie career went into eclipse in the 1940s (she would not appear in another motion picture until 1949), she found work on the stage and in radio and then in the new medium of television. Wong wrote a preface to the book "New Chinese Recipes" in 1942, which was one of the first Chinese cookbooks printed in the US. The proceeds from the cookbook were dedicated to United China Relief.
Though Wong was vocal in her opposition to stereotypes and typecasting, and was one of Hollywood's more memorable victims of racism in being denied leading roles in A-list pictures because the racist mores of the times prevented an Asian woman from kissing a Caucasian actor, she was considered socially suspect by her own people. The roles she was forced to accept in order to have an acting career, as well as her status as a single woman, disgusted many Chinese in America and in her ancestral homeland, where actresses were equated with prostitutes and where women were still played by men in classical opera. On a trip to China in 1936, Anna May was welcomed by the country's cultural elite in cosmopolitan Beijing and Shanghai, but she had to abandon a trip to her parents' ancestral village when her progress was blocked by a crowd of protesters. Someone in the crowed denounced her with "Down with Huang Liu Tsong, the stooge that disgraces China. Don't let her go ashore." Upon her return from China, Wong was determined to play Chinese characters more authentically, but her only options were to reject roles she deemed racist or to try to soften them from within the belly of the beast. Ultimately for this proud woman, it was a losing battle.
Chinese nationalism had been on the upswing since Yat-sen Sun ended the Manchu Empire in 1911 and was rife in reaction to the war of aggression launched against China by the Empire of Japan. Chinese nationalists, concerned about the portrayal of Chinese people as evil incarnate in American popular culture, were offended by Wong's portrayals of Asians and exotics. Though she would spend the World War II years working for Chinese charities and relief agencies, she was snubbed by Madame Chiang, the sister-in-law of Yat-sen Sun and wife of Kai-Shek Chiang, the army general who led the Nationalist Chinese, during Madame Chiang's 1942-43 propaganda tour of the US. Her biographer Hodges claims this was the beginning of a consensus among Chinese and Chinese-Americans that Wong was an embarrassment. Chinese and Chinese-Americans chose to blame her rather than Hollywood for the demeaning stereotypes she had to play in order to work. The result of this new consensus, according to Hodges, was that "her memory has been washed away."
Anna May's career in motion pictures was virtually finished after the war. She got her own TV series, The Gallery of Madame Liu-Tsong (1951), on the Dumont Network, playing a Chinese detective in a role written expressly for her, a character who was even given her real Chinese name. The half-hour program, which ran weekly from August 27 to November 21, 1951, was the first TV show to star an Asian-American.
Wong's personal relationships typically were with older Caucasian men, but California law forbade marriage between Asians and Caucasians until 1948. One of her white lovers offered to marry her in Mexico, but the couple's intentions became known and he backed off when his Hollywood career was jeopardized. Wong mused about marrying a Chinese man at times, but the Chinese culture held actresses to be on a par with prostitutes, which made her suspect marriage material. She was afraid that the mores of her culture likely meant that marrying a Chinese would force her to quit her career and be an obedient wife.
Anna May Wong appeared in over 50 American, English and German films in her career, making her the first global Chinese-American movie star. She was forced to fight against racism and stereotyping all her professional life, while simultaneously being criticized by Chinese at home and abroad for perpetuating stereotypes in the media. Despite this tremendous burden, the beautiful woman assayed an elegance and sophistication on-screen that made her the paradigm of Asian women for a generation of movie audiences.
Anna May Wong loved reading, and her favorite subjects spanned a wide range, everything from Asian history and Tzu Lao to William Shakespeare. She never married but occupied her time with golf, horses, and skiing. Wong smoked, drank too much, and suffered from depression. She was poised to make a comeback as a character actress on the big screen toward the end of her life, having appeared as Lana Turner's maid in Ross Hunter's sudsy potboiler Portrait in Black (1960). She was cast in the role of Madame Liang in Flower Drum Song (1961), the movie version of Richard Rodgers's and Oscar Hammerstein II's Broadway musical "Flower Drum Song," but before shooting could begin she passed away.
Anna May Wong died of a massive heart attack on February 3, 1961, in Santa Monica, CA, after a long struggle against Laennec's cirrhosis, a disease of the liver. She was 56 years old. Her fame lives on, four decades after her death. She is a part of American popular consciousness, chosen as one of the first movie stars to be featured on a postage stamp. And the interest in her continues: a play about Anna entitled "China Doll--The Imagined Life of an American Actress," written by Elizabeth Wong, had its premiere at Maine's Bowdoin College in 1997. A lecture and film series, "Rediscovering Anna May Wong," was held at the UCLA Film and Television Archive in 2004, sponsored by "Playboy" publisher Hugh Hefner. That same year New York City's Museum of Modern Art held its own tribute to Wong, "Retrospective of a Chinese-American Screen Actress." Finally she was getting the respect in her own country that was denied her during her career.
A biography by Colgate University history professor Graham Russell Gao Hodges, "Anna May Wong: From Laundryman's Daughter to Hollywood Legend," was published by Palgrave Macmillan in 2004. Hodges considers Anna May's life and career to be amazing, particularly in light of the fact that her star has yet to be eclipsed by any other Asian-American female star, despite the change in attitudes. Finally, in 2004, the British Film Institute restored E.A. Dupont's 1929 silent film "Piccadilly".- Actor
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Matt Ross was born on 3 January 1970 in Greenwich, Connecticut, USA. He is an actor and director, known for Captain Fantastic (2016), American Psycho (2000) and Face/Off (1997).- Actor
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John Ales was born on 3 January 1969 in Los Angeles, California, USA. He is an actor and producer, known for True Story (2021), Euphoria (2019) and Sex & Drugs & Rock & Roll (2015). He has been married to Wendy Gazelle since 17 March 2001. They have one child.- Handsome, rugged American leading man John Russell (whose credits are often confused with those of child actor Johnny Russell) attended the University of California, where he was a student athlete. Serving in the US Marine Corps in WW II, he earned a battlefield commission and decorations for valor at Guadalcanal. His dark good looks brought him to the attention of a talent scout after the war and he began playing second leads and occasional heavies in major productions. In the 1950s, he branched into television and starred in several popular series, most notably Lawman (1958). His appearances were sporadic after the 1960s, though he was a memorable villain in Clint Eastwood's Pale Rider (1985).
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Born on January 3, 1937 in Los Angeles, California, Glen A. Larson was the man behind some of the world's best-known prime-time television series. His highly successful productions (successful both financially and popularly, less often critically) include Knight Rider (1982), The Fall Guy (1981), Magnum, P.I. (1980), Battlestar Galactica (1978), and Buck Rogers in the 25th Century (1979). The hallmark of Larson's style is family entertainment. Always humorous with the firmly tongue-in-cheek, his series are textbook examples of the genre for any would-be prime-time producer: simple storylines, likable, charismatic lead characters combined with very little violence, no bad language and well-crafted "motif"-laced soundtracks. People like Larson's series because they are fun and relaxing and a wonderful escape from the real world. Glen A. Larson died at age 77 from esophageal cancer in his home in Santa Monica, California on November 14, 2014.- Actress
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Elizabeth Mary Furness was born on January 3, 1916 in New York City. She was a teenage model with the Powers agency and appeared in secondary roles in more than 35 movies. She is best remembered as the highly paid television spokesperson for Westinghouse Electric Corporation. She later moved on to consumer affairs and appeared as the consumer affairs expert on NBC's Today (1952) for 16 years. Betty Furness died at age 78 of stomach cancer on April 2, 1994 in New York City.