Hollywood Actors

Collection of Classic Hollywood Actors

Clu Gulagher
Clu Gulagher

IMDB Entry:

Clu Gulager was born William Martin Gulager in Holdenville, Hughes County, Oklahoma. His nickname was given to him by his father for the clu-clu birds (known in English as martins, like his middle name) that were nesting at the Gulager home at the time Clu was born. He grew up on his uncle’s ranch as a cowhand and when he was old enough he joined the United States Marine Corps for a stint from 1946-1948. He got the acting bug being in army plays so when he left he used the GI Bill of Rights to study acting. During this time he met his wife, actress Miriam Byrd Nethery. They had two children together –John, born in 1957, and Tom, born 1965. He was married over 50 years until his wife passed away in 2003 from cancer. Clu’s career started off as bit parts on popular western shows usually playing the heavy. Shows like Wanted Dead or Alive, Have Gun Will Travel, Laramie, Riverboat. He scored big with The Untouchables as Mad Dog Coll, which led to him being offered the role of Billy the Kid on The Tallman from 1960-1961, which also starred Barry Sullivan as Pat Garrett. The show was pulled after two seasons by Congress because they didn’t like the idea that kids were seeing the outlaw Billy the Kid as a hero. Clu’s next big break was playing Deputy Emmett Ryker on The Virginian from 1964-1968. During this time he also fared very well as Lee Marvin’s sidekick in the 1964 TV film The Killers, which was considered too violent for TV so it went to theaters. Having being burned out being a TV star he tried to break into films, mostly as a character actor. His stand out films were The Last Picture Show (1971, playing Ellen Burstyn’s lover), McQ (1974) with John Wayne and A Force of One (1979) with Chuck Norris, with whom he would work in the 1990’s on Walker, Texas Ranger. Clu was also cast in San Francisco International Airport, with Lloyd Bridges, which failed big time. Throughout the 70’s and 80’s he was in almost every show around, playing bit parts. Then the unthinkable happened: he found a second career as a horror film actor; he followed the footsteps of other TV actors who were stuck in TV hell, like his costar from The Virginian –Doug McClure– and Christopher George. Both of them in late 70’s and early 80’s found new careers in B movies and late night horror films. Clu finally got a lead part in Dan O’ Bannon’s cult classic The Return of the Living Dead (1985). He also was in A Nightmare on Elm Street Part 2: Freddy’s Revenge (1985) Throughout the 80’s and 90’s he would appear in TV and in the occasional horror flick. In 2005 he started acting in his son’s horror films –the Feasts movies and Piranha DD in his 80’s. Not letting age get in his way, he has been a horror fan favorite and still shows up at conventions at almost 90 now. You can say one thing about Clu: what a diverse career it has been for this awesome cowboy!   Clu died in August 2022 aged 93.

– IMDb Mini Biography By: cgay

New York Times obituary in August 2022.

Clu Gulager, Rugged Character Actor of Film and TV, Dies at 93

On TV, he played Billy the Kid on “The Tall Man” and was seen on the long-running “The Virginian.” His movies ranged from “The Killers” to “The Last Picture Show.” 

Daniel E. Slotnik

By Daniel E. Slotnik

Published Aug. 7, 2022Updated Aug. 8, 2022, 10:02 a.m. ET

Clu Gulager, a rugged character actor who appeared in critically acclaimed films like “The Last Picture Show” as well as low-budget horror movies, and who memorably portrayed gunslingers on two television westerns, died on Friday at his son John’s home in Los Angeles. He was 93.

John Gulager confirmed the death. He said his father’s health had been in decline since he suffered a back injury several years ago.

Mr. Gulager’s rough-hewed good looks and Southwestern upbringing made him a natural for the westerns that proliferated on television in the 1950s and ’60s. He was seen regularly on “Wagon Train,” “Bonanza,” “Have Gun — Will Travel” and other shows.

An appearance as the hit man Mad Dog Coll on “The Untouchables” in 1959 persuaded the writer and producer Sam Peeples to cast Mr. Gulager as the legendary outlaw Billy the Kid on “The Tall Man,” a television series he was planning about Billy’s friendship with Sheriff Pat Garrett. (By most accounts the title was a reference to Garrett’s honesty and rectitude, and to the show’s opening credits, in which Garrett’s long shadow stretches in front of him.)

“He’s exactly what we were looking for, an actor with a flair for the unusual,” Mr. Peeples said in a TV Guide profile of Mr. Gulager shortly after the show first aired in 1960. “He lends a certain psychological depth to Billy.”

The friendship between the lawman (played by Barry Sullivan) and the gun-toting rustler was fictionalized and greatly exaggerated over the show’s 75 episodes; many historians believe that Sheriff Garrett actually shot and killed Billy in 1881. Their fatal encounter never happened on the show, which ended abruptly in 1962.

Mr. Gulager played a more lawful character on “The Virginian,” the first of three 1960s western series that ran for 90 minutes, which starred James Drury and Doug McClure. Mr. Gulager’s character on the show, Emmett Ryker, was introduced in the show’s third season when a rich man tried to hire him to murder a rancher. Although he refused to be a hired killer, he was framed for killing the man. After clearing his name, Ryker channeled his penchant for violence into the service of the law.

In Mr. Gulager’s first scene, Ryker was typically unflappable. He walked into a saloon and within moments angered a man playing cards. Ryker drew his gun on the card player before he could stand up, ending the conflict.

Moments later a deputy sheriff asked Ryker where he learned to draw like that.

“In the cradle,” he replied.h

Mr. Gulager’s acting career, which lasted well into the 21st century, was not relegated to the frontier. He appeared on non-western television shows including “Alfred Hitchcock Presents,” “Knight Rider” and “Murder, She Wrote,” and in several notable movies.

He and Lee Marvin played hit men in “The Killers,” a 1964 film noir directed by Don Siegel and based on a short story by Ernest Hemingway that also starred Angie Dickinson, John Cassavetes and, in what turned out to be his last movie, Ronald Reagan.

In 1969 he played a mechanic in “Winning,” a film about auto racing with Paul Newman and Joanne Woodward. He played an older man who has a fling with his lover’s beautiful daughter in “The Last Picture Show,” Peter Bogdanovich’s celebrated 1971 study of a fading Texas town.

He was also in more lowbrow fare, like the Keenen Ivory Wayans blaxploitation parody “I’m Gonna Git You, Sucka” (1988) and the horror films “The Return of the Living Dead” and “A Nightmare on Elm Street 2” (both 1985).

His movie work continued well into his later years, including roles in the independent productions “Tangerine” (2015) and “Blue Jay” (2016). His final screen appearance was as a bookstore clerk in Quentin Tarantino’s “Once Upon a Time … in Hollywood” (2019).

Mr. Gulager left the cast of “The Virginian” in 1968 to focus on directing and teaching. (The show remained on the air until 1971, becoming the third-longest-running western in television history, after “Gunsmoke” and “Bonanza.”) His directing career foundered after the short film “A Day With the Boys” in 1969, but he became a popular teacher, running a workshop that focused on horror film acting and directing.

“I tell the young students in my class that what we do is as important as the work of a man who grows the wheat, the doctor who saves lives, the architect who builds homes,” he said in an ABC news release before he starred in the TV movie “Stickin’ Together” in 1978. “What we do, in our best moments, is provide humanity with food for the spirit.”

William Martin Gulager was born in Holdenville, Okla., on Nov. 16, 1928. He often said that he was part Cherokee; the name Clu came from “clu-clu,” a Cherokee word for the birds, known in English as martins, that were nesting at the Gulager home.

His father, John Delancy Gulager, was an actor and vaudevillian who became a county judge in Muskogee, Okla., and who taught him acting from a young age, well before he graduated from Muskogee Central High School. His mother, Hazel Opal (Griffin) Gulager, worked at the local V.A. Hospital for 35 years.

Mr. Gulager served stateside in the Marines from 1946 to 1948 before studying drama at Northeastern State College in Oklahoma and Baylor University in Waco, Texas. He continued his education in Paris, where he studied with the actor Jean-Louis Barrault and the mime Etienne Decroux.

He married Miriam Byrd-Nethery, and they acted in summer stock and university theater. In 1955 both were in a production of the play “A Different Drummer” on the television series “Omnibus.” He continued acting in New York until 1958, when the Gulagers and their infant son, John, moved to Hollywood.

Mr. Gulager’s wife died in 2003. Besides his son John, survivors include another son, Tom, and a grandson.

John Gulager is a director of horror movies, notably the gory “Feast” (2005), which starred Henry Rollins and Balthazar Getty. That film and its two tongue-in-cheek sequels also featured the older Mr. Gulager as a shotgun-toting bartender battling fanged monsters in a Midwestern tavern. The second “Feast” movie was even more of a family affair.

“He was 11 months old when we filmed it,” John Gulager added. “My dad said, ‘We have to get Baby Clu’s career started now.’

“You know, there are three generations of Gulagers in this movie,” John Gulager told the blog horror-movies.ca in an interview. One of them, named after Clu the elder, was Clu Gulager’s infant grandson.

Fred MacMurray
Fred MacMurray

IMDB:

Fred MacMurray

Fred MacMurray was likely the most underrated actor of his generation. True, his earliest work is mostly dismissed as pedestrian, but no other actor working in the 1940s and 50s was able to score so supremely whenever cast against type.

Frederick Martin MacMurray was born in Kankakee, Illinois, to Maleta Martin and Frederick MacMurray. His father had Scottish ancestry and his mother’s family was German. His father’s sister was vaudeville performer and actress Fay Holderness. When MacMurray was five years old, the family moved to Beaver Dam in Wisconsin, his parents’ birth state. He graduated from Beaver Dam High School (later the site of Beaver Dam Middle School), where he was a three-sport star in football, baseball, and basketball. Fred retained a special place in his heart for his small-town Wisconsin upbringing, referring at any opportunity in magazine articles or interviews to the lifelong friends and cherished memories of Beaver Dam, even including mementos of his childhood in several of his films. In “Pardon my Past”, Fred and fellow GI William Demarest are moving to Beaver Dam, WI to start a mink farm.

MacMurray earned a full scholarship to attend Carroll College in Waukesha, Wisconsin and had ambitions to become a musician. In college, MacMurray participated in numerous local bands, playing the saxophone. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. MacMurray recorded a vocal with Arnheim’s orchestra “All I Want Is Just One Girl” — Victor 22384, 3/20/30. He appeared on Broadway in the 1930 hit production of “Three’s a Crowd” starring Sydney GreenstreetClifton Webb and Libby Holman. He next worked alongside Bob Hope in the 1933 production of “Roberta” before he signed on with Paramount Pictures in 1934 for the then-standard 7-year contract (the hit show made Bob Hope a star and he was also signed by Paramount). MacMurray married Lillian Lamont (D: June 22, 1953) on June 20, 1936, and they adopted two children.

Although his early film work is largely overlooked by film historians and critics today, he rose steadily within the ranks of Paramount’s contract stars, working with some of Hollywood’s greatest talents, including wunderkind writer-director Preston Sturges (whom he intensely disliked) and actors Humphrey Bogart and Marlene Dietrich. Although the majority of his films of the 30’s can largely be dismissed as standard fare there are exceptions: he played opposite Claudette Colbert in seven films, beginning with The Gilded Lily (1935). He also co-starred with Katharine Hepburn in the classic, Alice Adams(1935), and with Carole Lombard in Hands Across the Table (1935), The Trail of the Lonesome Pine (1936) — an ambitious early outdoor 3-strip Technicolor hit, co-starring with Henry Fonda and Sylvia Sidney directed by Henry Hathaway — The Princess Comes Across (1936), and True Confession (1937). MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In an interesting sidebar, artist C.C. Beck used MacMurray as the initial model for a superhero character who would become Fawcett Comics’ Captain Marvel in 1939.

The 1940s gave him his chance to shine. He proved himself in melodramas such as Above Suspicion (1943) and musicals (Where Do We Go from Here? (1945)), somewhat ironically becoming one of Hollywood’s highest-paid actors by 1943, when his salary reached $420,000. He scored a huge hit with the thoroughly entertaining The Egg and I(1947), again teamed with Ms. Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise. In 1941, MacMurray purchased a large parcel of land in Sonoma County, California and began a winery/cattle ranch. He raised his family on the ranch and it became the home to his second wife, June Haver after their marriage in 1954. The winery remains in operation today in the capable hands of their daughter, Kate MacMurray. Despite being habitually typecast as a “nice guy”, MacMurray often said that his best roles were when he was cast against type by Billy Wilder. In 1944, he played the role of “Walter Neff”, an insurance salesman (numerous other actors had turned the role down) who plots with a greedy wife Barbara Stanwyck to murder her husband in Double Indemnity (1944) — inarguably the greatest role of his entire career. Indeed, anyone today having any doubts as to his potential depth as an actor should watch this film. He did another stellar turn in the “not so nice” category, playing the cynical, spineless “Lieutenant Thomas Keefer” in the 1954 production of The Caine Mutiny (1954), directed by Edward Dmytryk. He gave another superb dramatic performance cast against type as a hard-boiled crooked cop in Pushover (1954).

Despite these and other successes, his career waned considerably by the late 1950s and he finished out the decade working in a handful of non-descript westerns. MacMurray’s career got its second wind beginning in 1959 when he was cast as the dog-hating father figure (well, he was a retired mailman) in the first Walt Disney live-action comedy, The Shaggy Dog (1959). The film was an enormous hit and Uncle Walt green lighted several projects around his middle-aged star. Billy Wilder came calling again and he did a masterful turn in the role of Jeff Sheldrake, a two-timing corporate executive in Wilder’s Oscar-winning comedy-drama The Apartment (1960), with Shirley MacLaine and Jack Lemmon — arguably his second greatest role and the last one to really challenge him as an actor. Although this role would ultimately be remembered as his last great performance, he continued with the lightweight Disney comedies while pulling double duty, thanks to an exceptionally generous contract, on TV.

MacMurray was cast in 1961 as Professor Ned Brainerd in Disney’s The Absent Minded Professor (1961) and in its superior sequel, Son of Flubber (1963). These hit Disney comedies raised his late-career profile considerably and producer Don Feddersonbeckoned with My Three Sons (1960) debuting in 1960 on ABC. The gentle sitcom staple remained on the air for 12 seasons (380 episodes). Concerned about his work load and time away from his ranch and family, Fred played hardball with his series contract. In addition to his generous salary, the “Sons” contract was written so that all the scenes requiring his presence to be shot first, requiring him to work only 65 days per season on the show (the contract was reportedly used as an example by Dean Martin when negotiating the wildly generous terms contained in his later variety show contract). This requirement meant the series actors had to work with stand-ins and posed wardrobe continuity issues. The series moved without a hitch to CBS in the fall of 1965 in color after ABC, then still an also-ran network with its eyes peeled on the bottom line, refused to increase the budget required for color production (color became a U.S. industry standard in the 1968 season). This freed him to pursue his film work, family, ranch, and his principal hobby, golf.

Politically very conservative, MacMurray was a staunch supporter of the Republican Party; he joined his old friend Bob Hope and James Stewart in campaigning for Richard Nixon in 1968. He was also widely known one of the most — to be polite — frugal actors in the business. Stories floated around the industry in the 60s regarding famous hard-boiled egg brown bag lunches and stingy tips. After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances before retiring to his ranch in 1978. As a result of a long battle with leukemia, MacMurray died of pneumonia at the age of eighty-three in Santa Monica on November 5, 1991. He was buried in the Holy Cross Cemetery in Culver City.

– IMDb Mini Biography By: Dave Curbow and Mike Bischoff and Jack Backstreet

Susan Anspach
Susan Anspach

“Guardian” April 2018 Obituary:

With her vibrant appearance in Bob Rafelson’s landmark road movie Five Easy Pieces (1970), Susan Anspach, who has died aged 75, emerged at the same time as her co-star Jack Nicholson as a significant figure in the new Hollywood of the 1970s. However, Anspach, unlike Nicholson, saw her film career dwindle after a decade that has been called Hollywood’s last golden age.

“I was getting reviews that compared me to Katharine Hepburn and Bette Davis,” Anspach said in 1978. “But there were no Hepburn or Davis parts.” Nevertheless, she made the most of the strong female roles she was given in the Rafelson movie, and in Play It Again, Sam (1972), as the ex-wife of a film critic (Woody Allen), and Blume in Love (1973), as the ex-wife of a divorce lawyer (George Segal) – both former husbands are still in love with her.

She was born in New York City, to Renald Anspach, a factory worker, and Trudy Kehoe, a singer. After studying music and drama at the Catholic University of America in Washington, DC, Anspach began to get parts off-Broadway, notably in a revival of Arthur Miller’s A View from the Bridge (1965) alongside Robert Duvall and Jon Voight.

Anspach’s radical credentials were early in evidence when she took the lead role of the hippy queen, Sheila, in one of the first performances of Hair: The American Tribal Love-Rock Musical off-Broadway in 1967. She appeared in TV series such as The Defenders and The Patty Duke Show, before making her feature film debut in The Landlord (1970), Hal Ashby’s satire on race relations. With a malicious twinkle in her eye, she played the liberated sister of Elgar (Beau Bridges), who has bought a building in a black neighbourhood, to the horror of his stultifying bourgeois family.

In Five Easy Pieces, she was a pianist who semi-reluctantly gives in sexually to her fiance’s drifter brother (Nicholson), though she later asks: “Why should I go with you? If a person has no love for himself, no respect for himself, no love for his friends, family, work … how can he ask for love in return?”

In Play It Again, Sam, Anspach appears in Allen’s imagination, talking about the breakdown in their marriage, and why she dumped him. She seems to have made a speciality of playing wives who break up with husbands, mainly to assert their freedom. In Paul Mazursky’s Blume in Love, she was the newly liberated social worker who leaves her husband (Segal) for a musician (played by the country music singer-composer Kris Kristofferson).

It would be five years before she resumed her film career because “I was asked to do little more than what TV couldn’t do – take off your clothes and swear.” She did neither in the mediocre comedy thriller The Big Fix (1978) as a 60s student radical who get mixed up with a private eye (Richard Dreyfuss).

In Montenegro or Pigs and Pearls (1981), a Swedish-UK co-production directed by the anarchic Serbian film-maker Dušan Makavejev, Anspach gave a tour de force performance as a middle-class housewife whose boredom drives her to the edge of madness until she frees her libido with a gang of Serbian immigrant workers. According to the critic Roger Ebert: “Susan Anspach, who is not robust, and who is in fact rather shy and frail, may not seem like a likely candidate to enter this world, but she undergoes a transformation in the movie, from the suppressed, unbalanced housewife into a woman who was born to embrace Rabelaisian excess.

As well as a few inconsequential feature films, Anspach appeared in miniseries including The Yellow Rose (1983), Space (1985) and The Slap Maxwell Story (1987).

She is survived by Catherine, her daughter from a relationship with the actor Steve Curry, with whom she starred in Hair, and Caleb, her son with Nicholson. Both children were adopted by Mark Goddard, the Lost in Space actor, to whom Anspach was married from 1970 until 1978, though she expressed a disbelief in marriage. Her second marriage, in 1982, to the musician Sherwood Ball, also ended in divorce.

 Susan Florence Anspach, actor, born 23 November 1942; died 2 April 2018

Susanna Foster
Susanna Foster

“Guardian” obituary by Ronald Bergan from 2009:

Radiating youth and beauty, and singing with an immaculate and fresh coloratura soprano voice in 11 Hollywood movies from 1939 to 1945, Susanna Foster, who has died aged 84, appeared to have everything. At the age of 19 she shone in her most memorable role as the operatic diva Christine Dubois in Phantom of the Opera (1943), which co-starred Nelson Eddy and Claude Rains. Her earnings from her Universal Studios contract enabled her to rescue her family from poverty. Yet, 13 years later, she was struggling to survive and bring up her two young sons, and her financial and mental situation worsened over the years.

Foster admitted that she was partly to blame for her changed circumstances, saying that she had made the wrong choices, including leaving films at the height of her popularity, walking out on her marriage and, when only 12 years old, turning down the title role in National Velvet because “there was no singing in it”. Eight years later, MGM’s film was to make Elizabeth Taylor a star.

Foster, who called herself a “skinny waif” at the time, was one of many well-scrubbed youngsters that MGM was grooming for stardom but, unlike Mickey Rooney and Judy Garland, with whom she was at school, she was released by the studio after a further proposition fell through. It was to be called B Above High C, a reference to the upper register of her voice.

Foster, who was born Suzanne DeLee Flanders Larson, in Chicago, and raised in Minneapolis, began to sing at the age of five, imitating the screen sopranos Grace Moore and Jeanette MacDonald. Paramount snapped her up as a teenager, casting her in the biopic The Great Victor Herbert (1939). She was a hit, playing Allan Jones and Mary Martin’s daughter, and sang Kiss Me Again brilliantly, which prompted the New York Times to write: “The charming juvenile songstress Susanna Foster is a newcomer who is going to be very bearable to watch.” After seeing Foster in the film, the newspaper magnate William Randolph Hearst flew her to his estate for a private recital for him and his mistress, Marion Davies, the former film star.

There’s Magic in Music (1941), a showcase for several young musical talents, featured Foster as Toodles LaVerne, a burlesque queen who is discovered by a priest (Jones) and brought to a music camp to perfect her singing. In this role, she not only skillfully mimicked Marlene Dietrich but also sang operatic arias from Faust and Carmen. This led Universal to offer her the part of the diva in Phantom of the Opera when the studio’s biggest star, the juvenile soprano Deanna Durbin, turned it down.

Foster, seen for the first time in Technicolor, was suitably attractive as the prima donna of the Paris opera house, loved by three men, the disfigured composer of the title (Rains), a baritone (Eddy) and a police inspector (Edgar Barrier).

Universal then starred her opposite the energetic young dancer Donald O’Connor in Top Man (1943), a lively “let’s-put-on-a-show” teen musical, and This Is the Life (1944). Then, in Technicolor horror mode again, and in an attempt to repeat the huge success of Phantom of the Opera, came The Climax (1944), in which Foster is under the malign influence of a mad doctor, played by Boris Karloff, who wants to prevent her from singing for anyone but himself. She sings, with what one critic called “a very lusty larynx”, in arias from pseudo-operas.

After three more films, Bowery to Broadway (1944), Frisco Sal (1945) and That Night With You (1945), Foster decided to give up show business and concentrate on her singing. In fact, Universal, hoping she would return to films, financed a six-month stay in Europe under the tutelage of the dramatic soprano Dusolina Giannini. On her return from Europe, she sang at a ball at the White House, with President Harry Truman and Eleanor Roosevelt in attendance.

 

In 1948, Foster made her stage debut in the Victor Herbert operetta Naughty Marietta, opposite the baritone Wilbur Evans, whom she married. They toured together in a number of operettas and musical comedies, trading on her name as a film star. However, it was Evans who got a huge break, playing Emile de Becque to Mary Martin’s Nellie Forbush in the 1951 London production of South Pacific. A few years later, Foster suddenly left Evans, who was 20 years her senior, and whom she claimed never to have loved, taking her two young sons with her.

There followed years of living on and off welfare, and from hand to mouth. While trying to ensure her children were fed, she also attempted to help her alcoholic, widowed mother and mentally unstable younger sister. Foster, too, suffered depression and had problems with alcohol. In 1982, in order to save rent, she lived in her car at the beach in California. She was rescued for a while by a film fanatic, who let her share his squalid apartment, and she later cared for him when he lost his sight. In 1985, her younger son, who had become a drug addict, died of liver failure. Her surviving son, Michael, brought her back to the east coast, where she spent the last years of her life living in a nursing home.

Remembering her glowing screen performances only adds extra poignancy to her tragic decline.

• Susanna Foster (Suzanne DeLee Flanders Larson), actor and singer, born 6 December 1924; died 17 January 2009

Kieu Chinh
Kieu Chinh

IMDB:

Veteran Vietnamese born actress Kieu Chinh is best known to moviegoers for her role as Suyuan Woo in the 1991 film “The Joy Luck Club”. She also made a notable guest appearance on the hit CBS-TV series “M*A*S*H” as Kyung Soon, an aristocratic South Korean socialite whom Hawkeye begins to fall in love with (which is reciprocated) after he’s enlisted by Colonel Potter to attend to her sick mother in the episode “In Love and War” (directed by Alan Alda) in the series’ sixth season.

In the 1960s, in addition to Vietnamese films, she also appeared in several American productions including “A Yank in Viet-Nam” (1964) and “Operation C.I.A.”‘ (1965), the latter opposite Burt Reynolds. Kieu Chinh also produced a war epic “Nguoi Tình Khong Chan Dung” (Warrior, Who Are You) (1971), which later would be remastered and shown in the U.S. at the 2003 Vietnamese International Film Festival.

In 1975, while Kieu Chinh was on the set in Singapore, communist North Vietnamese overran Saigon. Kieu Chinh left for the U.S. where she resumed her acting career in a 1977 episode of M*A*S*H “In Love and War”, written by Alan Alda and loosely based on her life story.

Kieu Chinh subsequently acted in feature films as well as TV-movies including The Children of An Lac”, “Hamburger Hill” (1987), “Riot” (1997), “Catfish in Black Bean Sauce” (1999), “Face” (2002), “Journey From The Fall” (2005), and the FOX-TV series “21” (2008).

From 1989 to 1991, she had a recurring role as Trieu Au on the ABC-TV Vietnam War drama series “China Beach”.

For over a decade, Chinh has been a lecturer of the Greater Talent Network in New York. She has been invited to give keynote addresses at Pfizer, Kellogg, Cornell University and University of San Diego. Kieu is also active in philanthropic work. Together with journalist Terry Anderson, she co-founded the Vietnam Children’s Fund, which has built schools in Vietnam attended by more than 25,000 students annually. Kieu Chinh and Anderson continue to serve as the Fund’s co-chair.

– IMDb Mini Biography By: twilliamson7

Kieu Chinh
Kieu Chinh
Victor McLaglen
Victor McLaglan

Rambunctious British leading man (contrary to popular belief, he was of Scottish ancestry, not Irish) and later character actor primarily in American films, Victor McLaglen was a vital presence in a number of great motion pictures, especially those of director John Ford. McLaglen (pronounced Muh-clog-len, not Mack-loff-len) was the son of the Right Reverend Andrew McLaglen, a Protestant clergyman who was at one time Bishop of Claremont in South Africa. The young McLaglen, eldest of eight brothers, attempted to serve in the Boer War by joining the Life Guards, though his father secured his release. The adventuresome young man traveled to Canada where he did farm labor and then directed his pugnacious nature into professional prizefighting. He toured in circuses, vaudeville shows, and Wild West shows, often as a fighter challenging all comers. His tours took him to the US, Australia (where he joined in the gold rush) and South Africa. In 1909 he was the first fighter to box newly-crowned heavyweight champion Jack Johnson, whom he fought in a six-round exhibition match in Vancouver (as an exhibition fight, it had no decision). When the First World War broke out, McLaglen joined the Irish Fusiliers and soldiered in the Middle East, eventually serving as Provost Marshal (head of Military Police) for the city of Baghdad. After the war he attempted to resume a boxing career, but was given a substantial acting role in The Call of the Road (1920) and was well received. He became a popular leading man in British silent films, and within a few years was offered the lead in an American film, The Beloved Brute (1924). He quickly became a most popular star of dramas as well as action films, playing tough or suave with equal ease. With the coming of sound, his ability to be persuasively debonair diminished by reason of his native speech patterns, but his popularity increased, particularly when cast by Ford as the tragic Gypo Nolan in The Informer (1935), for which McLaglen won the Best Actor Oscar. He continued to play heroes, villains and simple-minded thugs into the 1940s, when Ford gave his career a new impetus with a number of lovably roguish Irish parts in such films as She Wore a Yellow Ribbon (1949) and The Quiet Man (1952). The latter film won McLaglen another Oscar nomination, the first time a Best Actor winner had been nominated subsequently in the Supporting category. McLaglen formed a semi-militaristic riding and polo club, the Light Horse Brigade, and a similarly arrayed precision motorcycle team, the Victor McLaglen Motorcycle Corps, both of which led to apparently erroneous conclusions that he had fascist sympathies and was forming his own private army. The facts prove otherwise, and despite rumors to the contrary, McLaglen did not espouse the far right-wing sentiments often attributed to him. He continued to act in films into his 70s and died, from heart failure, not long after appearing in a film directed by his son, Andrew V. McLaglen.

– IMDb Mini Biography By: Jim Beaver <jumblejim@prodigy.net>

Arlene Francis
Arlene Francis

IMDB Entry:

Arlene Francis, the witty actress and popular television personality, was born Arlene Francis Kazanjian on Oct. 20, 1907, in Boston. Her father was an Armenian immigrant, later painter and portrait photographer; her mother was the daughter of actor Alfred Davis. Even at an early age, Arlene said, “I started out with one goal: I wanted to be a serious actress.” She studied at the Theatre Guild and then went to Hollywood. Her movie debut was in Murders in the Rue Morgue (1932), in which Bela Lugosi (often cast as a villain or mad scientist in many of his over 40 movies) tied her to an X-cross to extract her blood (trivia: Arlene and Bela were both born on Oct. 20). The live theater, however, was her first love, and she appeared in many plays. In 1935, she married movie executive Neil Agnew; they’d stay together for 10 years. Arlene made her Broadway debut in 1936 and had her first major role in “All That Glitters” two years later. She appeared with Orson Welles in the Mercury Theatre production of “Danton’s Death” in 1938, and in “Journey to Jerusalem” in 1940. Her big hit was “The Doughgirls” in 1942; it ran for 1-1/2 years. Arlene had auditioned for her first radio part at the same time she was getting started in the theater; she later recalled, “Radio came easily.” In the 1940s, she played in as many as five radio serials a day. Arlene married actor Martin Gabel in 1946 (he died in 1986), and they had a son, Peter. She also was host of a radio dating show called “Blind Date,” which was adapted to a TV series in 1949 (Your Big Moment (1949)), and she was the host (1949-1952). It was television that brought Arlene fame, and she became one of the highest-paid women in TV. Arlene was a permanent panelist on CBS’ What’s My Line?(1950) (a Mark GoodsonBill Todman production) from 1950 through 1967 and continued as a panelist in a syndicated version that ran until 1975, thus being with the show for its entire 25-year run. She was warm, witty and had a cute laugh–and was always fashionably dressed. She wore a diamond heart-shaped necklace, which started a fad. She was still doing radio while on TV, and in 1960, she was the star of “The Arlene Francis Show,” a daily interview show in New York, on WOR; it ran for 23 years. Arlene retired from show business after that and lived comfortably. She was still giving interviews in 1991. Arlene spent her last years living in San Francisco. Arlene died of cancer on Thursday, May 31, 2001, in a San Francisco hospital, at age 93. Her many fans will miss her, Arlene was truly one of the greats.

– IMDb Mini Biography By: kdhaisch@aol.com