Hollywood Actors Archives

Phyllis Kirk

Phyllis Kirk obituary in “The Independent”.

The actress Phyllis Kirk will always be associated with her role as the dark-haired heroine in the 3-D horror movie House of Wax (1953), pursued through the night streets by a mad sculptor, played by Vincent Price, and saved by a whisker from being dipped in hot wax. Ironically, it was a role she fought against playing. “I tried to turn it down, with the arrogance of a young actress who thinks she is going to rule the world – and doesn’t realise, while she’s bitching about House of Wax, that that will probably be the most memorable thing she does in the movie business!”

Although Kirk was in some other fine films, notably the nostalgic musical Two Weeks with Love (1950) and the distinguished film noir Crime Wave (1954), and she had a prolific career in television, for which she starred in the series The Thin Man, it is for House of Wax that she will be primarily remembered, along with her campaigning for civil rights .

Of Danish descent, she was born Phyllis Kirkegaard in 1929 in Syracuse, New York. After working as a waitress, shop assistant and model, she moved to Elizabeth, New Jersey, in her late teens to be able to study acting in New York City with the famed coach Sanford Meisner. She made her Broadway début, having shortened her last name to Kirk, in 1949 in a play that promised much.

Mrs OMalley And Mr Mallone : Original Cinema One Sheet Poster

My Name is Aquilon was a comedy by the French actor Jean-Pierre Aumont, which had been a hit in Paris. Adapted for the United States by Philip Barry, it co-starred Lilli Palmer with Aumont, who played a charming cad whose conquests included Kirk, as a French maid. Before it opened to hostile reviews, Aumont had acrimonious battles with Barry over the adaptation, and when Palmer was hailed as the best thing about the evening, Aumont stated that on opening night she had given an entirely different performance to the one they had been rehearsing for six weeks. The play ran for 31 performances, but Kirk’s performance was noted by a talent scout for Sam Goldwyn, and after her dispiriting introduction to Broadway, Kirk was glad to accept an offer to go to Hollywood.

She made her screen début in the Goldwyn drama Our Very Own (1950), playing the friend of a teenager (Ann Blyth, the film’s star) who is traumatised by the discovery that she is adopted. Although Blyth could do little with the main role (her exasperating character needed a good shaking), Kirk was very sympathetic as a girl who envies Blyth the love and support with which she has been raised (Kirk’s father is unable to find the time to attend her graduation). Goldwyn then sold Kirk’s contract to MGM, who gave her a less sympathetic role in the delightful musical Two Weeks With Love, as the haughty beauty at summer camp who patronises her younger friend (Jane Powell) and jealously tries to sabotage a budding romance between Powell and Latin lover Ricardo Montalban.

In 1952 Kirk moved to Warners, where, after small roles in About Face, The Iron Mistress and Stop, You’re Killing Me (all 1952), she was given the leading female role in House of Wax, playing the character created by Fay Wray in an earlier version of the tale, Mystery of the Wax Museum (1933). “I was not interested in becoming the Fay Wray of my time,” Kirk told the historian Tom Weaver,

and I was told, “You’re under contract, and you’ll do what we ask you to do, unless you care to be suspended.” I also did not want to be in a film that was using a gimmick, which I thought 3-D was. I went on to have a lot of fun. Vincent Price was a divine man, and a divine actor, and director André de Toth was a remarkable, highly intelligent guy who was more appreciated in Europe than at home.

Kirk worked with de Toth in her next two films, a western co-starring Randolph Scott, Thunder Over the Plains (1953), and an exceptional film noir, Crime Wave, in which she was the wife of a former convict (Gene Nelson) who is hounded by a dogged, toothpick-chewing police detective (Sterling Hayden). The French director Bertrand Tavernier said that,

de Toth showed himself to be particularly inspired by the delightful Phyllis Kirk, a modest and under-rated actress whom he rewarded for

rescuing many inadequately written characters (as in Thunder Over the Plains) by giving her at last a role worthy of her in Crime Wave, where she is splendidly dignified and straightforward.

(Another French director, Jean-Pierre Melville, acknowledged that he loved Crime Wave enough to steal its ending for his own film noir Le Deuxième Souffle, 1966.) Among Crime Wave’s splendid supporting cast playing lowlifes who hold Kirk hostage was Charles Buchinsky (later Bronson), who had also menaced her in House of Wax. “Now there was a piece of work,” said Kirk.

I didn’t particularly like him, he was full of oats and swaggering around and being terribly macho – it may have to do with the fact that he wasn’t very tall. I got to know him better over the years, and began to like him much more as an actor.

Kirk then became one of those American stars used to boost British product, starring opposite John Bentley in River Beat (1954), a superior “B” movie and an impressive directorial début by Guy Green, who stated, “Phyllis Kirk was an up-and-coming actress who never became a major star, but she was a very bright, nice girl, whom I was lucky to have.” Kirk recalled,

My favourite story in London was to point out that the director of House of Wax had only one eye and couldn’t see in three dimensions. Everybody in London thought that was hilarious, but I’m sure nobody at Warner Brothers thought it hilarious that I was saying that.

Kirk was leading lady to Frank Sinatra in the western Johnny Concho (1956) and to Jerry Lewis in The Sad Sack (1957), but she was increasingly acting on television, with guest appearances on anthology drama shows such as Studio One, Schlitz Playhouse of the Stars and The Ford Television Theatre. “I wouldn’t trade my Hollywood experience for anything,” she said,

but TV taught me the most about acting. There were a couple of live television things that I loved doing. There was a series called Robert Montgomery Presents, and we did The Great Gatsby [1955] with Montgomery as Gatsby and I played Daisy Buchanan. I loved that, and I thought they did a wonderful job with it.

Kirk’s most famous role on television was her portrayal of Nora Charles in The Thin Man, a series that ran for three years (1957-59). Peter Lawford played her playboy-detective husband Nick in the show, based on the Dashiell Hammett novel and the MGM film series. Her last television role was in a 1970 episode of The FBI.

Long considered a confirmed bachelor-girl, the strong-willed and independent Kirk had a long friendship with the mordant comic Mort Sahl, but later married the television producer Warren Bush, who died in 1992.

As a child, Kirk had battled with polio, and in the early Seventies, after a fall damaged her hip, she had trouble walking. During her film career, she had contributed interviews and articles to the newspaper of the American Civil Liberties Union, and as her acting career slowed, she devoted more time to political and social causes, gaining particular notoriety when she joined other celebrities, including Ray Bradbury and Norman Mailer, in campaigning against the death sentence of the convicted murderer Caryl Chessman. “I even visited Chessman several times in San Quentin until his execution in 1960,” Kirk said. “There’s no doubt he did some ghastly things, but he did not kill anybody. Also, I abhor capital punishment, always have and always will.”

Before her retirement in 1992, Kirk also worked in public relations and as a publicist for CBS News.

Tom Vallance

“The Independent” obituary can also be accessed online here.

Sandra Dee obituary in “The Guardian” in 2005.

In the nostalgic musical Grease (1978), about growing up in a fantasised America of the 1950s, there is an appropriately evocative song called Look At Me, I’m Sandra Dee.

Pert, petite blonde Sandra Dee, who has died aged 62 of kidney disease, was the sweetheart of the teen set from the late 50s to the mid-60s. Born Alexandra Zuck, in New Jersey, she became a model while still at school and appeared in television commercials, which led her to Hollywood. (Many years later, she revealed that she had been the victim of a sexually abusive stepfather and a domineering mother, who pushed her into films).

Her screen debut, aged 14, was in Until They Sail (1957), followed by the title role in Vincente Minnelli’s The Reluctant Debutante (1958), based on the West End hit by William Douglas Home, in which the very American Dee played the very English Rex Harrison’s daughter.

This implausibility was explained in the script by a prior transatlantic misalliance on the part of Harrison’s Lord Broadbent. According to the producer, Dee was cast “for the sake of the US teenage public”. However, having been coached in diction and demeanour, she got through the part with surprising poise.

In 1959, the 5ft 5ins tall Dee was seen to embody the wholesome, all-American ideal in Gidget (a nickname meaning “girl midget”). Despite not measuring up to the bikinied girls on the beach, she is courted by the two grooviest surfers in town, Moondoggie (James Darren) and Kahoona (Cliff Robertson). The film set the tone for the “beach party” movies of the 1960s.

Most important for Dee was her contract, in 1959, with Universal Studios, where her image of a budding beauty was polished. First, there was Douglas Sirk’s ripe remake of Imitation Of Life (1959), in which Dee, feeling neglected by her glamorous acting mother (Lana Turner), falls in love with her mother’s boyfriend (John Gavin).

I’d Rather Be Rich, poster, top l-r: Sandra Dee, Robert Goulet, Sandra Dee, Andy Williams, Sandra Dee, bottom l-r: Maurice Chevalier, Hermione Gingold on poster art, 1964. (Photo by LMPC via Getty Images)

Then there was The Wild And The Innocent (1959), a western with 54-year-old Gilbert Roland and 35-year-old Audie Murphy panting after 17-year-old Dee.

Max Steiner’s insistent theme from A Summer Place (1959) had Dee and her blond male equivalent, Troy Donahue, making love to its strains on the Maine coast. The film came at the start of the sexually permissive era, and consists of Dee complaining about the “cast-iron girdle” her mother buys to hide her burgeoning curves.

In 1960, Dee met pop idol Bobby Darin in Portofino, Italy, while they were appearing together in Come September (1961), and they were married soon after. In the film, the couple represented the younger generation up against oldsters Rock Hudson and Gina Lollobrigida. Dee and Darin, now fan magazine favourites, co-starred as newly weds in If A Man Answers (1961).

Dee made a rather pale replacement for Debbie Reynolds in Tammy Tell Me True (1961) and Tammy And The Doctor (1963), but was well cast as the daughter of the American ambassador in love with the Russian ambassador’s son in Peter Ustinov’s Romanoff And Juliet (1961), and as conservative James Stewart’s rebellious daughter in Take Her, She’s Mine (1962).

After the breakup of her marriage to Darin in 1967, however, she found there was not much work for an ageing teenage star. She did get to play Rosalind Russell’s granddaughter in Rosie (1967), and appeared in The Dunwich Horror (1969), as a student lured away from college by a crazed Dean Stockwell, who attempts to sacrifice her to the devil. But then she turned to pills and alcohol, admitting she was drinking more than a quart of whisky a day as her weight fell to 80lbs. (She was anorexic for most of her life.)

Dee became a recluse in Los Angeles for some years, until encouraged to stop drinking by her son Dodd Darin, who, in 1994, wrote a book about his parents, Dream Lovers: The Magnificent Shattered Lives Of Bobby Darin And Sandra Dee. Kevin Spacey’s recent biopic of Darin, Beyond The Sea, with Kate Bosworth playing Dee, sparked a renewed interest in her life.

She is survived by her son.

· Sandra Dee (Alexandra Zuck), actor, born April 23 1942; died February 20 2005

Her Guardian” obituary by Ronald Bergan, please click here for online.

Geoffrey Horne. (Wikipedia)

Geoffrey Horne was born in 1933 and is an American actor, director, and acting coach at the Lee Strasberg Theatre and Film Institute. His screen credits include The Bridge on the River Kwai, Bonjour Tristesse, The Strange One, Two People, The Twilight Zone episode “The Gift” in 1962, and as Wade Norton in “The Guests” episode of The Outer Limits.

Horne was born in Buenos Aires of American parents (his father was a businessman in the oil trade). When he was five he went to live with his mother in Havana. Ten years later he was sent to “a little school in New England for troubled children,” in his words. He attended the University of California, where he decided to be an actor.

Horne moved to New York where he appeared in an off-Broadway flop, then began to get regular work on television, including an adaptation of Billy Budd. He also joined the Actor’s Studio.

Tempest, poster, (aka LA A, front to rear: Silvana Mangano, Geoffrey Horne, Van Heflin, 1958. (Photo by LMPC via Getty Images)

In July 1956, Horne successfully auditioned for a small role in The Strange One (1957), whose cast was composed entirely Actors’ Studio alumni. The film was not a huge hit but was widely acclaimed; it was marked the film debut of Ben Gazzara and George Peppard.

The film was produced by Sam Spiegel who then cast Horne in a role in Bridge on the River Kwai in January 1957.

Spiegel also signed Horne to a long term contract – one film a year for five years. “I know Sam wouldn’t send me down the river,” said Horne. “He’s a man of great taste and talent. And the best of the independents to be linked up with, what with all the old-time studio executive types on the way out… I’m not sure I have what it takes to be a star… Time will tell.”

Otto Preminger borrowed him for a role in Bonjour Tristesse but he would make no further films with Spiegel. He then made Tempest in Yugoslavia.^[6]

A life member of the Actors Studio, Horne was almost cast as Bud Stamper in Splendor in the Grass by the film’s director, Studio co-founder Elia Kazan, but the role eventually went instead to Warren Beatty. Around the same time, Horne was also auditioned by Federico Fellini for the lead in La Dolce Vita, which ultimately went to Marcello Mastroianni.

In 1980, he appeared in a New York production of Richard III. In 1981, he joined the cast of Merrily We Roll Along, and became the oldest cast member. He appeared as Dr. Bird in The Caine Mutiny Court Martial produced by the Stamford Center for the Arts in 1983.

Grant Williams is best rememberd for his lead performance in the cult science-fiction classic “The Incredible Shrinking Man” which was released in 1957. He was born in 1931 in New York City and began acting as a student with the Actor’s Studio.

His other films of interest was “Four Girls in Town”, “Written on the Wind” and “Susan Slade”. Grant Williams died in 1985 aged 53. To view article on Grant William’s career, please click here.

The Academy of Motion Picture Arts and Sciences will host a month-long series of screenings of classic horror films with “Universal’s Legacy of Horror” in October. The series is part of the studio’s year-long 100th anniversary celebration engaging Universal’s fans and all movie lovers in the art of moviemaking. Pictured: THE INCREDIBLE SHRINKING MAN, 1957.

John Drew Barrymore obituary in “People” magazine.

Sporadic actor John Drew Barrymore, perhaps best known as the absentee father of Drew Barrymore, died Monday in Los Angeles. He was 72.

No cause or details of his passing were released.

In a statement issued by her publicist, Drew, 29, said: “He was a cool cat. Please smile when you think of him.”

John Drew Barrymore’s parents were actress Dolores Costello and the fabled John Barrymore, who was part of a stage and screen dynasty that included brother Lionel Barrymore and sister Ethel Barrymore.

Drew’s grandfather was the colorful Barrymore – as famous for his magnificent profile as he was for his boozing. He died of pneumonia and cirrhosis of the liver in 1942, though, by then, he had been divorced from Costello since 1935, when their son was barely 3. John Drew, sometimes known as John Jr., claimed he saw his father only once.

In the ’50s, John Drew, already battling well-publicized liquor and drug problems, appeared in such movies as The Sundowners, High Lonesome, Quebec, The Big Night, Thunderbirds andWhile the City Sleeps.

He frequently dropped out of projects, however, or arrived on the set late and unprepared. There were also problems with drunken driving and domestic violence. “I’m not a nice, clean-cut American kid at all,” he told the Associated Press in 1962, by which time he had left Hollywood to make movies in Europe. “I’m just a human being. Those things just happen.”

Drew Barrymore was his daughter by his third wife, Ildiko Jaid Barrymore. He is also survived by John D. Barrymore, a son by his first wife, actress Cara Williams (the 1960 sitcom Pete and Gladys). Barrymore’s second wife was Gaby Palazzolo. All three unions ended in divorce.

Susan Peters. IMDB.

Susan Peters was born in 1921 in Spokane, Washington. She was signed to a contract with MGM and was featured in a good role in “Random Harvest” with Ronald Coleman and Greer Garson. She was nominated for an Oscar for her performance. Other roles included “Song of Russia” and “Keep Your Powder Dry”. In 1945 she suffered spinal injuries while duck hunting, when a gun went off and a bullet lodged in her spinal cord. She was confined to a wheelchair which had a limiting effect on her career. Her last major film role was in “Sign of the Ram” in 1948. She starred in a TV series, “Miss Susan” in 1951 but died the following year, aged only 31.

Gary Brumburgh’s entry:

War-era MGM had a lovely, luminous star in the making with Susan Peters. She possessed a creative talent and innate sensitivity that would surely have reigned as a leading Hollywood player for years to come had not a tragic and cruel twist of fate taken everything away from her.

She was born Suzanne Carnahan in Spokane, Washington on July 3, 1921, the eldest of two children. Her father, Robert, a construction engineer, was killed in an automobile accident in 1928, and the remaining family relocated to Los Angeles to live with Susan’s grandmother. Attending various schools growing up, she excelled in athletics and studied drama in her senior year at Hollywood High School where she was spotted by a talent scout. Following graduation, she found an agent and enrolled at Max Reinhardt‘s School of Dramatic Arts. While performing in a showcase, she was spotted by a Warner Bros. casting agent, tested and signed to the studio in 1940.

Making her debut as an extra Susan and God (1940), she saw little progress and eventually became frustrated at the many bit parts thrown her way. Billed by her given name Suzanne Carnahan (known for possessing a zesty stubborn streak, she had refused to use the studio’s made-up stage name of Sharon O’Keefe), Susan was barely given a line in many of her early movies. She did test for a lead role in Kings Row (1942) but lost out to Betty Field. Susan’s first big break came with the Humphrey Bogart potboiler The Big Shot (1942), where she was fourth-billed and had the second female lead. Dropped by Warners, MGM picked up her contract and adopted a new stage name for her, Susan Peters. In the Marjorie Main vehicle Tish (1942), Susan earned a co-starring part and met actor Richard Quine on the set. Quine played her husband in the film. The couple also appeared together in the film Dr. Gillespie’s New Assistant (1942), and married in real life in November of 1943.

Susan won the role of Ronald Colman‘s sister’s teenager stepdaughter (and a potential love interest of the Colman character) in the profoundly moving film Random Harvest(1942) and earned an Academy Award nomination for “Best Supporting Actress” for her efforts. Her potential in that film was quickly discovered and she continued to offer fine work in lesser movies such as the WWII spy tale Assignment in Brittany (1943), the slight comedy Young Ideas (1943) and the romantic war drama Song of Russia (1944), in which she touchingly played Nadya, a young Soviet pianist who falls for Robert Taylor. For these performances, Susan was named “Star of Tomorrow” along with Van Johnsonand others.

Then tragedy struck a little more than a year after her wedding day. While on a 1945 New Year’s Day duck-hunting trip in the San Diego area with her husband and friends, one of the hunting rifles accidentally discharged when Susan went to retrieve it. The bullet lodged in her spine. Permanently paralyzed from the waist down, MGM paid for her bills but was eventually forced to settle her contract. Susan valiantly forged on with frequent work on radio. In 1946 Susan and Richard happily adopted a son, Timothy Richard, but two years later she divorced Quine — some say she felt she was too much of a burden.

Appearing with Lana Turner as a demure soldier’s wife in Keep Your Powder Dry (1945), which was filmed before but released a year after her accident, Susan made a film “comeback” with The Sign of the Ram (1948), the melodramatic tale of an embittered, manipulative, wheelchair-bound woman who tries to destroy the happiness of all around her, but audiences were not all that receptive. She also turned to the stage with tours of “The Glass Menagerie,” in which she played the crippled daughter Laura from a wheelchair (with permission from playwright Tennessee Williams), and “The Barretts of Wimpole Street” opposite Tom Poston, wherein she performed the role of poet and chronic invalid Elizabeth Barrett Browning entirely from a couch.

In March of 1951 she portrayed an Ironside-like lawyer in the TV series Martinsville, U.S.A. (1951) but the show ran for less than one season, folding in December of that year. After this, the increasingly frail actress, who was constantly racked with pain, went into virtual seclusion. Suffering from acute depression and plagued by kidney problems and pneumonia, she finally lost her will to live and died at the age of 31 on October 23, 1952, of kidney failure and starvation, prompted by a developing eating disorder (anorexia nervosa). It was a profoundly sad and most unfortunate end to such a beautiful, courageous spirit and promising talent.

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

TCM overview:

A lovely and promising actress who worked her way up the ranks at MGM, Susan Peters’ career was cut short by one of the worst tragedies to affect the Hollywood acting community during the 1940s. After an unpromising start, the Spokane native had her first substantial part in the MGM film “Tish” (1942) and soon became a regular player for the studio. Her most famous credit was the celebrated drama “Random Harvest” (1942), where Peters impressed greatly in a supporting capacity. With an Oscar nomination now on her résumé, she demonstrated further promise in such productions as “Song of Russia” (1944), in which she essayed the female lead role opposite Robert Taylor. In a tragic turn of events, Peters was crippled in a hunting accident, but within a few months, she had resumed acting via radio assignments and was determined to move forward. Her movie days were over after only one more picture, but Peters earned praise for stage performances in travelling revivals of “The Glass Menagerie” and “The Barretts of Wimpole Street,” and she also headlined her own television series for a time. Unfortunately, the strain of dealing with her condition caused Peters to plunge into depression and anorexia nervosa, both of which sapped her will to live and contributed to her premature death at age 31. Although the final years of her life were heartbreaking, Peters displayed considerable courage and the praise for her acting, both before and after the tragedy, was well-deserved.

Susan Peters was born Suzanne Carnahan on July 3, 1921 in Spokane, WA, but her formative years were spent predominantly in Portland, OR and Los Angeles. She gained her first acting experience in plays at Hollywood High and came to the attention of Lee Sholem, a talent scout and future B-movie director. After acting classes and further stage work, Peters was offered a contract with Warner Brothers. Her first film appearance came with an uncredited bit in the Joan Crawford vehicle “Susan and God” (1940) and she graduated to more screen time and actual billing in the Errol Flynn/Olivia DeHavilland Western “Santa Fe Trail” (1940). After a few more virtually anonymous turns, Peters began to receive bigger opportunities, first in such B-pictures as “Scattergood Pulls the Strings” (1941) and “Three Sons o’ Guns” (1941), and then somewhat more promising fare, like the Humphrey Bogart crime drama “The Big Shot” (1942).

However, it soon became clear that Warner was not interested in doing much with Peters and the studio opted not to renew her contract. Fortunately, she had come to the attention of MGM, which cast Peters in the Marjorie Main dramedy “Tish” (1942). The fitfully entertaining production came and went without much notice, but proved important for Peters: she fell in love with co-star Richard Quine and the pair married the following year. “Tish” had also provided Peters with her first part of any real substance and, impressed with the results, MGM offered her a contract. It was soon decided that she would be the best choice for a role in their romantic drama “Random Harvest” (1942) and it was that film that finally brought Peters notoriety. Cast as the step niece of Ronald Colman Peters’ poignant performance earned an Academy Award nomination for Best Supporting Actress.

Now busy at Metro, Peters’ career followed the usual path for a young contract player on the way up. She was utilized in the franchise entry “Andy Hardy’s Double Life” (1942), as well as B-movies like “Assignment in Brittany” (1943) and “Young Ideas” (1943). Peters was also the female lead of the more prominent production “Song of Russia” (1944), which gained unwanted attention a few years later when it ran afoul of the House Un-American Activities Committee for its pro-Russia sympathies. Sadly, Peters’ life changed forever on Jan. 1, 1945. While out on a family hunting excursion, she picked a rifle up off the ground only to have it discharge and lodge a bullet in her spine. The accident left Peters completely paralyzed from the waist down. After a month in hospital, she recovered enough to be discharged. Peters’ last effort prior to the accident, the Lana Turner “gals in uniform” war drama “Keep Your Powder Dry” (1945), was released in the months that followed and while MGM had been paying her medical bills, Peters asked to be released from her contract.

To her considerable credit, Peters determined that she would not let the condition limit her. After spending some of her initial recovery time writing, she was back working that September in a radio staging of “Seventh Heaven” opposite Van Johnson. She was also able to soon maneuver around effectively in her home and in a specially designed car with hand controls which allowed Peters to drive. In a further extension of her resolve to lead a regular life, Peters also decided to become a mother. In 1946, she and Quine adopted boy whom they named Timothy. Peters also returned to movie screens as the star of “Sign of the Ram” (1948), where she played a wheelchair-bound woman who uses her paralysis as a way of manipulating family members. Unfortunately, it was not a success and no more film offers were forthcoming. During this time, she and Quine also divorced. This was done at Peters’ request, in an apparent attempt to release him from any obligation to care for her.

Peters next turned her attentions to the stage and received good notices for revivals of “The Glass Menagerie” and “The Barretts of Wimpole Street.” In both cases, Peters proved up to the challenge and continued her work in each when they went on tour. Television also offered Peters a new opportunity with the daytime series “Miss Susan” (NBC, 1951). Staged live in Philadelphia, the 15-minute legal serial starred the actress as an Ohio attorney who continues on with her obligations, despite having been disabled in a car accident. However, after production of “Miss Susan” came to an end, Peters sank into a deep depression and spent time in a sanitarium. Although she regained her health sufficiently to do some more stage acting, Peters’ remaining years were spent in a downward spiral of psychological problems and anorexia nervosa. Those conditions, coupled with pneumonia and kidney issues, brought about her passing on Oct. 23, 1952. Peters was posthumously awarded a star on the Hollywood Walk of Fame in 1960.

By John Charles

Rosemary Forsyth. IMDB.

A tall, slender, highly attractive blonde, Canadian-born leading lady Rosemary Forsyth was born in Montreal. In the mid 1960s, she was groomed by Universal after a stretch as a model and a sprinkling of small time TV parts. The soft, demure beauty showed quite a bit of promise amid the rugged surroundings as the young ingénue or romantic co-star to a number of top male veterans. James Stewart in Shenandoah (1965), Charlton Heston inThe War Lord (1965), and both Dean Martin and Alain Delon in Texas Across the River(1966) all utilized her services in their respective film.

Married to actor Michael Tolan at the time, she suddenly took a leave of absence from filming to have a child. While the occasion, of course, was a joyous and fulfilling one, it managed to put a permanent damper on her career. She returned to filming with the so-so film Where It’s At (1969) starring Robert Drivas and the very mediocre Dick Van Dyke comedy vehicle Some Kind of a Nut (1969), never again reaching the peak prior to her maternity time off.

Rosemary showed up regularly on the small screen, however, in a slew of standard 70s TV-movies and episodic guest roles. On daytime, she took over the role of Laura Horton on Days of Our Lives (1965) from 1976-1980 and also had regular, albeit brief, parts onSanta Barbara (1984) and General Hospital (1963).

In recent years, she has popped up as more arch matrons on such popular shows as Monk (2002), NYPD Blue (1993), andWithout a Trace (2002). Divorced from Tolan, she later married again.

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

Yvette Mimieux. TCM Overview.

Yvette Mimieux’s career peak was during the 1960’s when she starred opposite such actors as Rod Taylor in “The Time Machine”, Charlton Heston in “Diamond Head”, George Hamilton in “Where the Boys Are” and “The Light in the Piazza”. In 1976 she made something of a comeback in the gritty thriller “Jackson County Jail” with Tommy Lee Jones. Her last film was “Lady Boss” in 1992. Article on Ms Mimieux on “Brian’s Drive-In Theater” here.

TCM Overview:

Statuesque Yvette Mimieux’s film career took off in 1960 with two major parts demonstrating her versatility. In George Pal’s version of “The Time Machine,” she compelled attention as Weena, a primitive cavewoman in a an apocalyptic future.

Later that year, her appearance as a happy-go-lucky teenager on vacation in the ash hit “Where The Boys Are” garnered her praise as much for her portrayal of a young woman struggling with sexual assault as for her bikini scenes.

For the rest of her career, Mimieux struggled to find equally compelling parts that would allow her to show off her dramatic talents as much as her body. While her role as an unjustly imprisoned woman in 1976’s exploitation movie “Jackson County Jail” briefly helped revive her big screen popularity, from the 1970s up to the time of her retirement Mimieux concentrated on TV movies, two of which included parts she wrote or conceived for herself.

As a remorseless assassin in 1974’s “Hit Lady” and a deranged stalker in 1984’s dark drama “Obsessive Love,” Mimieux finally had the chance to demonstrate her range. After her last appearance in the 1992 TV movie “Lady Boss,” Mimieux retired from acting, turning her attention to real estate.

Guardian obituary in 2022.

Midway through an acting career she abandoned early, out of frustrations with her casting, Yvette Mimieux, who has died aged 80, said the parts she was offered were usually “sex objects or vanilla pudding”. Her pale beauty was striking, but ethereal rather than fragile; qualities that led to the early roles that foreshadowed her entire career. “I suppose I have a soulful quality,” she said. “I was often cast as a wounded person, the sensitive soul.”

She was only 15 when the talent agent Jim Byron supposedly spotted her from his helicopter while she walked a horse in the Hollywood Hills; he landed and gave her his card. The other version of the story was more mundane: he spotted her auditioning for a bit part in Elvis Presley’s Jailhouse Rock. He generated publicity for her through beauty contests and modelling.

She reprised the charmingly innocent and unaware Weena in Light in the Piazza (1962), as Olivia de Havilland’s adult daughter rendered permanently a pre-teen girl by a childhood fall from a horse that halted her mental development. On holiday she falls in love with a wealthy Italian, played by George Hamilton, who had acted with her in Where the Boys Are. He was totally unconvincing in the role, but had lobbied as an MGM contract player to replace the Cuban-Italian actor Tomas Milian, who might have provided a better contrast to Mimieux’s American child.

Her celebrity was cemented by Tyger, Tyger, a two-part episode broadcast in early 1964 of the TV hit Dr Kildare, starring Richard Chamberlain. She guest-starred as a surfing-mad teenager who suffers epileptic seizures. Her scenes in a bikini, including one where she balances on her parents’ coffee table to demonstrate her love for surfing to Kildare, are thought to be the first appearance of a navel on US TV. She had, officially, just turned 22 (her birth date is sometimes given as 1939), and had made eight movies, but stardom continued to elude her.

Mimieux was born in Los Angeles. Her father, René, was French, and worked as a film extra and electrician; her mother, Maria (nee Montemayor) was Mexican. Some of her publicity claimed she had studied archaeology at the University of California, Los Angeles, and that she had met Engber there.

As one of the last wave of MGM contract players she was doubly typecast, first by studio executives there, and then by other studios who sought her on loan to play those types of roles. She showed some talent in the adaptation of Lillian Hellman’s Toys in the Attic (1963), but she was back playing a young married woman too innocent for sex in Joy in the Morning (1965), and standard love interests in various action films.

In The Desperate Hours (1967), an early TV movie remake of the Humphrey Bogart thriller, she was literally a vulnerable hostage. Her best part came while she was loaned to American International for the black comedy Three in the Attic (1968), as one of three women holding their womanising boyfriend prisoner.

She moved to starring in a TV detective series, The Most Deadly Game (1970-71), alongside Ralph Bellamy and George Maharis; she got the part following the death of Inger Stevens. She featured in another TV movie remake, of Death Takes a Holiday, opposite Monte Markham, and the growing market for TV movies meant that between 1971 and 1984 she made 13 of them, mostly forgettable, but including a remake of Bell, Book and Candle (1976) in which she took the role played by Kim Novak in the 1958 film.

In 1972 she married the director of musicals Stanley Donen. He moved back to the US from the UK in 1975, but his career was waning, and they never worked together

By the time she was 17 she had landed an uncredited bit part in the film of Françoise Sagan’s A Certain Smile (1958), and appeared in the popular TV shows Yancy Derringer, Mr Lucky and One Step Beyond. MGM put her under contract, and gave her a small, bikini-clad role in Platinum High School (1960).

But she caught the public eye opposite Rod Taylor in George Pal’s adaptation of HG Wells’s The Time Machine (1960), playing Weena, the beautiful Eloi blissfully unaware that she and her fellows are raised in idyllic peace as cattle to be eaten by the underground Morlocks. In the erstwhile hit comedy Where the Boys Are, she proved the “spring break” movie’s darkness as a student who is a victim of date rape and gets hit by a car as she staggers down the highway in her torn dress.

She made the cover of Life magazine in 1961, described as a “warmly wistful starlet”, but Modern Romances scooped Life by using an earlier, anonymous modelling photo of her on their cover the same week. A week later, the press reported that the teenage star had been married in 1959, to a student, Evan Engber, who was now doing his military service

Growing more frustrated, Mimieux wrote the TV movie Hit Lady (1974), to give herself a meatier role. But her career’s apotheosis came in Jackson County Jail (1976), a Roger Corman B-movie, which cast her as a California teacher – falsely accused in the deep south of a crime – who kills her jailer when he tries to rape her. It was as if Mimieux, teamed with Tommy Lee Jones, was fighting back against years of being cast as victims.

She co-wrote and produced the TV movie Obsessive Love (1984), in which she played a John Hinckley-inspired role as an over-the-top fan of a soap star. In 1985 she was cast in a TV series, Berrenger’s, a Dallas-like drama set in a New York department store.

That year she and Donen divorced; she retired from acting and married the entrepreneur Howard Ruby. She began painting, pursued her interests in archaeology and Haitian art, and together they took up the cause of protecting Arctic wildlife from exploitation. She came out of retirement briefly in 1992 to play an Ivana Trump-like character in the TV series Lady Boss.

Mimieux is survived by her husband and five stepchildren.

Yvette Carmen Mimieux, actor, born 8 January 1942; died 17 January 2022.

Tom Tryon TCM Overview

Tom Tryon had a successful career in film when he decided to retire from movies and he became a very popular author of best-sellers. He was born in 1925 in Hartfort, Connecticut. His first film was “The Scarlet Hour”.

He was very effective opposite Diana Dors in “The Unholy Wife” in 1957. He starred in many Westerns including “Three Violent Men”, “Texas John Slaughter”, “The Glory Guys” and “Winchester 73”.

He also became identified with the cult classic “I Married a Monster from Outer Space”. In 1963 Otto Preminger surprisingly chose him to play the lead in the big-budget movie “The Cardinal”.

He also starred in Preminger’s “In Harm’s Way”. Preminger a difficult taskmaster made film making difficult for Tryon.

His interest in acting waned and he took up a new and extremely successful career as a writer. His books include “The Other”, “Harvest Home” and “Fedora”, all of which were subsequently filmed.

Tom Tryon died in 1991 in Los Angeles.Tall, ruggedly handsome leading man of the 1950s and 60s who after a 16-year career gave up acting in 1971 to write the best-selling novels “Crowned Heads” and “Harvest Home”

. After beginning in a stock theatre company as a set painter and assistant manager, and later becoming a production assistant with NBC-TV, the Yale-educated Tryon entered film in 1955 with “Scarlet Hour”.

He appeared in mostly forgettable fare including “I Married a Monster from Outer Space” (1958) (as a stone-faced alien), and as the title character in the 1958 Walt Disney TV series “Texas John Slaughter”. The height of his acting career was the starring role in Otto Preminger’s “The Cardinal” (1963). In 1971, Tryon wrote the highly popular, supernatural thriller “The Other”, which he adapted to the screen the following year, and then switched full time to his eventually more successful writing career.

His novel “Harvest Home” was made into a 1978 TV movie “The Dark Secret of Harvest Home”, and his “Crowned Heads” was adapted in part for the 1978 Billy Wilder film, “Fedora”.

The above TCM overview can also be accessed online here.

TCM Overview:

Blog on Tom Tryon:

It was Noel Coward’s partner, Gertrude Lawrence, who encouraged Tom to try acting. He made his Broadway debut in 1952 in the chorus of the musical “Wish You Were Here.” He also worked in television at the time, but as a production assistent. In 1955 he moved to California to try his hand at the movies, and the next year made his film debut in “The Scarlet Hour” (1956). Tom was cast in the title role of the Disney TV series “Texas John Slaughter” (1958) that made him something of a household name.

He appeared in several horror and science fiction films: “I Married a Monster from Outer Space” (1958) and “Moon Pilot” (1962) and in westerns: ‘Three Violent People’ (1956) and ‘Winchester ’73’ (1967). He was part of the all-star cast in ‘The Longest Day’ (1962), a film of the World War II generation, credited with saving 20th Century Fox Studios, after the disaster of ‘Cleopatra.” He considered his best role to be in ‘In Harm’s Way’(1965), which is also regarded as one of the better films about World War II.

While filming the title role in ‘The Cardinal’ (1962), Tom suffered from Otto Preminger’s Teutonic directing style and became physically ill. Nevertheless, Tom was nominated for a Golden Globe award in 1963. He appeared with Marilyn Monroe in her final film, “Something’s Got to Give” (1962), but the studio fired Monroe after three weeks, and the film was never finished. That experience, along with the “Cardinal” ordeal, left Tom wary of studio games and weary at waiting around for the phone to ring.

After viewing the film “Rosemary’s Baby” (1968) Tom was inspired to write his own horror novel, and in 1971 Alfred Knopf published “The Other.” It became an instant bestseller and was turned into a movie in 1972, which Tom wrote and produced. Thereafter, despite occasional film and TV offers, Tom gave up acting to write fiction fulltime. This he did eight to ten hours a day, with pencil, on legal-sized yellow tablets. Years later, he graduated to an IBM Selectric.

The Other was followed by Lady (1975) which concerns the friendship between and eight-year-old boy and a mysterious widow in 1930s New England. His book Crowned Heads became an inspiration for the Billy Wilder film “Fedora” (1978), and a miniseries with Bette Davis was made from his novel Harvest Home (1978). All That Glitters (1986), a quintette of stories about thinly disguised Hollywood greats and near-greats followed. Night of the Moonbow (1989), tells of a boy driven to violence by the constant harassment he endures at a summer camp. Night Magic, about an urban street magician with wonderous powers, written shortly before his death in 1991, was posthumously published in 1995. The dust jackets and end papers of Tom’s books, about which he took unusual care, are excellent examples of his gifts as an artist and graphic designer, further testimony to the breadth of his talents.
Blog can be accesssed online here.

Collection of Classic Hollywood Actors

Phyllis Kirk

Phyllis Kirk obituary in “The Independent”.

Sandra Dee

Sandra Dee obituary in “The Guardian” in 2005.

Geoffrey Horne

Geoffrey Horne. (Wikipedia)

Grant Williams

John Drew Barrymore

John Drew Barrymore obituary in “People” magazine.

Susan Peters

Susan Peters. IMDB.

Rosemary Forsyth

Rosemary Forsyth. IMDB.

Yvette Mimieux

Yvette Mimieux. TCM Overview.

Guardian obituary in 2022.

Tom Tryon

Tom Tryon TCM Overview

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