Hollywood Actors Archives - Page 96 of 126

John Raitt

John Raitt was born in Santa Anam California in 1917. He was a major Broadway star and a popular singer. He made only one film, but it was a choice one, “The Pajama Game” with Doris Day in 1957. His daughter is the singer Bonnie Raitt. John Raitt died in 2005.

Gary Brumburgh’s entry:

One of the top Broadway baritones of the post WWII period, John Raitt maintained an incredibly resilient career that spanned over 60 years, showing remarkable power, range and stamina for a man who defied the odds by concertizing well into his 80s. He was born in Santa Ana, California in 1917, the son of Archie John Raitt and Stella Eulalie Walton, and graduated from the University of Redlands. Studying legit with Richard Cummings in his early years, one of his first appearances would be in 1940 in the chorus of HMS Pinafore with the Los Angeles Civic Light Opera Company. The following year he played the roles of Figaro and Count Almaviva in the Pasadena Civic Auditorium production of “The Barber of Seville,” as well as Escamillo in “Carmen.” At this time he earned an MGM contract and was seen without much fanfare in such pictures as Flight Command (1940), Little Nellie Kelly (1940) and Ziegfeld Girl (1941). 1944 proved to be John’s breakthrough year after winning the role of Curly in the Chicago production of the new big hit musical “Oklahoma!” Critics took notice of the man’s robust presence, sturdy pipes and unfailing confidence. The virile man with the sly flash in his eye then made his Broadway debut originating the role of the tormented Billy Bigelow in the now-classic musical “Carousel.” He never had to look back. His powerful rendition of the “Soliloquy” number helped him to clinch the prestigious New York Drama Critics and Donaldson Awards. John continued to impress in the musical forum with lead parts in “Magadalena,” “New Moon,” “Carnival in Flanders” and “Three Wishes for Jamie” (title role). In 1954, he found his second signature role as foreman Sid Sorokin in “The Pajama Game” oppositeJanis Paige. Here, he introduced the classic ballad “Hey There” for which he is probably best known. So ideally suited was he in this role that John was asked to transfer Sid to film, this time opposite Doris Day. Although it was an unqualified success, musical films were on their way out and he did not find any more work in the area of cinema. For the next few decades he continued to tour in roles audiences had grown to love (Curly, Billy, Sid). Other suitable vehicles would include “Shenandoah,” “1776,” “South Pacific,” “Man of La Mancha,” and “Kismet.” By this time he had also grown in stature as a concertist. Back in the 1940s John married pianist Marjorie Haydock. One of their children grew up to become singer/songwriter Bonnie Raitt (born 1949), who inherited the vocal/instrumental talents of her parents but took a different, uncompetitive path as a blues-rock guitarist. Despite their polar musical styles, father and daughter performed frequently together on the live stage. John and wife Marjorie would later divorce and he remarried. Seldom on TV, the live stage would be John’s invaluable legacy to the music world. He died in 2005 of complications from pneumonia at age 88.

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

Autographed

“Guardian” obituary:

Though the singer John Raitt was one of the great leading men of Broadway’s golden age, his reputation rests on surprisingly few hits: Carousel (1945) and The Pajama Game (on stage in 1954, and on film in 1957). Yet Raitt worked nearly continuously from 1940 almost up to his death at the age of 88. In 1995, he recorded the album John Raitt: The Broadway Legend, and sang some duets with daughter Bonnie Raitt as recently as last January. .

The qualities of his talent were thrown into particularly high relief during the father-daughter duets. Bonnie’s voice is consciously untrained, used in a style that generates an overall emotion in any given phrase, but letting the words take care of finer shades of meaning. Her father had a cultivated, operatic voice (with a more sure sense of pitch) that he used with great specificity, bordering on deliberation

A typical Raitt touch was heard in the song If I Loved You, sung by the carnival barker Billy Bigelow in Carousel; Raitt’s emphasis on the word “if” in every statement underlined the character’s ambivalence – a trait that would set off a chain reaction contributing to Billy’s demise. Not a member of the method-acting generation, Raitt was likely to deliver such things from instinct rather than analysis – or, even better, by conferring with the authors.

It is said that Raitt’s vocal prowess – which he demonstrated to songwriters Richard Rodgers and Oscar Hammerstein upon replacing Alfred Drake in Oklahoma! – inspired the famous seven-minute dramatic tour-de-force Soliloquy from Carousel. Not so much a song as a musical scene depicting the contemplation of impending fatherhood, Soliloquy was a breakthrough in Broadway theatre for its length, operatic weight of expression and emotional nakedness, virtually unheard of for male characters in this genre.

Though Raitt’s career peaked with Carousel, his performances were remarkably consistent, often despite substandard material, such as the ambitious, idiosyncratic Heitor Villa-Lobos musical Magdalena in 1948 (which Raitt revisited some 40 years later in a concert version in New York), Three Wishes For Jamie (1952) and Carnival In Flanders (1953). The only post-Carousel hit he originated was The Pajama Game.

That, plus a primitive television version of Annie Get Your Gun, with Mary Martin, were Raitt’s only major screen appearances, and it is hard to say why. Though he mastered the more subtle art of screen acting, his wide-spaced eyes played oddly from some camera angles, magnifying a vaguely ethnic look that may have challenged the white hegemony of 1950s Hollywood.

In any case, Raitt was a servant of the theatre. His looks and voice made him a natural candidate for Las Vegas, which he resisted, according to Bonnie, because he disliked the unwholesome atmosphere of such engagements. More likely, he was of a generation when the singer was the messenger of song and characters, and may have simply been at a loss to adapt to the kind of self-aggrandising song styling that was customary in 1960s Las Vegas.

I n time, the Broadway Raitt had come to define turned away from him. The invasion of artificial amplification meant voices like his were no longer really needed. Also, Broadway subject matter was leaving him behind. When, in the mid-1970s, he toured with a minor musical entitled Seesaw, he admitted to being so frustrated with his vocal under-utilisation that he performed a mini-concert of his old standards after every show. Because he kept his fees low enough to be a viable hire for summer theatre seasons, he took on roles that strayed far from his romantic leading-man image, such as Fiddler On The Roof and Zorba The Greek.

Little in his background or early life pointed to such future dedication to show business. Just as easily, Raitt might have become a sports coach, having distinguished himself with track and field skills in Santa Ana, California, where he was born and grew up. His singing began in chorus work at the Los Angeles Civic Light Opera, graduating to less light opera such as the Barber Of Seville – an aria from which he sang at his first Rodgers and Hammerstein audition.

Though Raitt had three children by his first wife, Marjorie Haydock (they divorced in 1971) – Bonnie, Steven and David – he had a particularly close rapport with Bonnie. During a free day from a Broadway tour, he would drive to the next city where she had a tour stop. When her 1989 comeback album, Nick Of Time, swept the Grammy awards, he was with her at the ceremony. They sang at each other’s weddings, she at his third marriage, to Rosemary Kraemer, in 1981, and he at her 1991 wedding.

Rosemary and his children survive him.

Estelle Parsons was born in 1927 in Lynn, Massachusetts. She worked for a time on Broadway before entering films. She won an Oscar early in her career for her performance in “Bonnie & Clyde” in 1967. Other films include “I Never Sang for My Father” and “Dick Tracy”. More recently she was featured as Rosanne Barr’s mother in the TV sitcom “Rosanne”.

TCM Overview:

The first female political reporter on network TV during her five-year stint with “The Today Show” (NBC) in the early 1950s, Estelle Parsons made her Broadway debut as a reporter in the Ethel Merman musical “Happy Hunting” (1956) and later won a Theatre World Award in the title role of “Mrs. Dally Takes a Lover” (1962). Although she had acted in the feature “Ladybug, Ladybug” (1963), it was her second film (and first Hollywood movie) role as the shrewish Blanche Barrow in Arthur Penn’s landmark “Bonnie and Clyde” (1967) that established her credentials as a wonderful screen character actress. Hysterical with bullets whizzing by and grief-stricken after the shoot-out that blinded her in one eye and left her husband Buck (Gene Hackman) dead, she unwittingly provided law enforcement with the info that would lead to the demise of Bonnie (Faye Dunaway) and Clyde (Warren Beatty). Her tour de force performance earned that year’s Best Supporting Actress Oscar, and her next outing as Joanne Woodward’s schoolteacher colleague in Paul Newman’s directing debut, “Rachel, Rachel” (1968), garnered another Academy Award nomination in the category.

Parsons acted opposite Jackie Gleason in the uninspired film version of Woody Allen’s play “Don’t Drink the Water” (1969), then portrayed Hackman’s sister and Melvyn Douglas’ daughter in Gilbert Cates’ sensitive adaptation (written by the playwright) of Robert Anderson’s “I Never Sang for My Father” (1970). After supporting Barbra Streisand in “For Pete’s Sake” (1974), Parsons made only small screen appearances during the late 70s and 80s (i.e., in episodes of CBS’ “All in the Family”, as Bess Truman in the 1979 NBC miniseries “Backstairs at the White House” and portraying teacher Clare Block in the 1988 CBS-movie “Open Admissions”) before returning to features as Mrs. Truehart in “Dick Tracy” (1990), which reteamed her with Warren Beatty, who both starred and directed. Since then, she has turned up as Louise in Herbert Ross’ extremely likable “Boys on the Side” (1995), as Queen Margaret in Al Pacino’s inventive documentary about acting Shakespeare “Looking for Richard” (1996) and as Old Lady McCracken in the disappointing remake of “That Darn Cat” (1997).

Parsons never abandoned the stage, carving a niche with quality performances like her Tony-nominated turns as the title characters of Tennessee Williams’ “The Seven Descents of Myrtle” (1968) and Paul Zindel’s “And Miss Reardon Drinks a Little” (1971) as well as the dictatorial schoolteacher of “Miss Margarida’s Way” (1977). She branched into directing with NYC productions of “Voices” (1978) and “Antony and Cleopatra” (1979), and adapted, co-directed and performed the seven monologues that comprised Dario Fo and Franco Rame’s “Orgasmo Adulto Escapes from the Zoo” (1983). In the mid-80s, producer Joseph Papp selected her to direct a company of young actors in Shakespearean roles in an effort to bring the Bard to NYC schoolchildren. One of her more recent theatrical triumphs was as Winnie in Samuel Beckett’s “Happy Days”, which she performed in a variety of venues. But her recurring role as Bev Harris, the busybody mother of Roseanne and Jackie, on the ABC sitcom “Roseanne” (1989-97) has undoubtedly provided the greatest exposure of her distinguished career.

The above TCM overview can also be accessed online here.

Mara Lane was born in Vienna, Austria in 1930. She is the older sister of actress Jocelyn Lane. Mara made her film career mostly in England and her debut there was in 1951 in “Hell Is Sold Out”. In 1953 she went to Hollywood to make “Susan Slept Here” with Dick Powell, Debbie Reynolds and Anne Francis. Her last film to date was in 1964. Her page on “Glamour Girls of the Silver Screen” can be accessed here.

Richard Beymer was born in Iowa in 1938. He performed as a child actor in such films as “So Big” with Jane Wyman and “Johnny Tremain”. As a young adult he starred in “The Diary of Anne Frank” with Millie Perkins and Diane Baker in 1959, “The Stripper” with Joanne Woodward and “West Side Story”. In 1990 his career was revived by his participation in the cult television series “Twin Peaks”.

TCM overview:

This former teen actor, who after starring in a string of major films in the 1950s and early 60s (“The Diary of Anne Frank” 1959, “West Side Story” 1961, “Hemingway’s Adventures of a Young Man” 1962 and “The Stripper” 1963), never really made the transition to interesting adult roles and came under critical attack for his sometimes wooden performances.

Beymer left Hollywood in 1963 to try his hand at directing experimental films and documentaries and lensing TV features. He became involved in the 60s struggles for civil rights and directed and photographed the documentary, “A Regular Bouquet” (1964), which later aired on the PBS series, “Eyes on the Prize”. He didn’t return to acting (with the exception of starring in his own directed and produced independent film, “Innerview” 1973) until the 1980s with the thriller, “Cross Country” (1983). Beymer also made a TV appearance on “Paper Dolls” (ABC, 1984) and in the exploitation horror film, “Silent Night Deadly Night III: Better Watch Out” (1989).

Beymer scored a comeback of sorts in TV’s “Twin Peaks” (ABC, 1990-91), as the wildly villainous entrepreneur, Ben Horne, giving a looser, funkier performance than any in his earlier career. In films, Beymer made brief appearances in the sequel “My Girl 2” and the erotic thriller “Under Investigation” (both 1994).

The above TCM overview can also be accessed online here.

Millie Perkins and Richard Beymer practice a scene for the 1959 film The Diary of Anne Frank, in which they play the respective roles of Anne Frank and Peter Van Daan. (Photo by �� John Springer Collection/CORBIS/Corbis via Getty Images)

Rita Moreno has had an amazingly long career winninh an Oscar, Tony, Emmy and Grammy. She was born in 1931 in Puerto Rico. In 1951 she was featured in “The Toast of New Orleans” with Mario Lanza and “Singin in the Rain”. She was featured as one of the young lovers in “The King and I” in 1956. She played the fiery Anita in “Wst Side Story” in 1961. Other film roles “The Ritz”, “The Night of the Following Day”, “Carnal Knowledge” and “The Four Seasons”. On television she played the nun Sister Peter Marie from 1997 until 2003 in “Oz”. She published her autobiography

IMDB entry:

U.S. actress Rita Moreno has had a thriving acting career for the better part of six decades. Moreno, one of the very few (and very first) performers to win an Oscar, an Emmy, a Tony, and a Grammy, was born Rosita Dolores Alverío in Humacao, Puerto Rico on December eleventh, 1931. She moved to New York City in 1937 along with her mother, where she began a professional career before reaching adolescence. The eleven-year-old Rosita got her first movie experience dubbing Spanish-language versions of U.S. films. Less than a month before her fourteenth birthday on November eleventh, 1945, she made her Broadway debut in the play “Skydrift” at the Belasco Theatre, costarring withArthur Keegan and the young Eli Wallach. Although she would not appear again on Broadway for almost two decades, Rita Moreno, as she was billed in the play, had arrived professionally.

The cover of the March first, 1954 edition of “Life Magazine” featured a three-quarters, over-the-left-shoulder profile of the young Puerto Rican actress/entertainer with the provocative title “Rita Moreno: An Actresses’ Catalog of Sex and Innocence.” It was sex-pot time, a stereotype that would plague her throughout the decade. If not cast as a Hispanic pepper pot, she could rely on being cast as another “exotic”, such as her appearance on Father Knows Best (1954) as an exchange student from India. Because of a dearth of decent material, Moreno as an actress had to play roles in movies that she considered degrading. Among the better pictures she appeared in were the classic Singin’ in the Rain (1952) and The King and I (1956).

Filmmaker Robert Wise, who was chosen to codirect the movie version of the smash hit Broadway musical West Side Story (1961) (a retelling of Shakespeare’s “Romeo & Juliet” with the warring Venetian clans the Montagues and Capulets reenvisioned as Irish/Polish and Puerto Rican adolescent street gangs, the Jets and the Sharks), cast Moreno as “Anita”, the Puerto Rican girlfriend of Sharks’ leader Bernardo, whose sister Maria is the piece’s Juliet.

However, despite her proven talent, roles commensurate with that talent were not forthcoming in the 1960s. The following decade would prove kinder, possibly as the beautiful Moreno had aged and could now be seen by film-makers, T.V. producers and casting directors as something other than the spit-fire/sex-pot that Hispanic women were supposed to conform to. Ironically, it was in two vastly diverging roles — that of a $100 hooker in director Mike Nichols brilliant realization of Jules Feiffer‘s acerbic look at male sexuality, Carnal Knowledge (1971) (1971) and that of Milly the Helper in the children’s T.V. show The Electric Company (1971) (1971) — that signaled a career renaissance.

During the seventies, Moreno won a 1972 Grammy Award for her contribution to “The Electric Company” soundtrack album, following it up three years later with a Tony Award as Best Featured Actress in a Musical for The Ritz (1976), a role she would reproduce on the Big Screen. She then won Emmy Awards for “The Muppet Show” and “The Rockford Files”.

Thereafter, she has continued to work steadily on screen (both large and small) and on-stage, solidifying her reputation as a national treasure, a status that was officially ratified with the award of the Presidential Medal of Freedom by President George W. Bush in June 2004.

– IMDb Mini Biography By: Jon C. Hopwood

The above IMDB entry can also be accessed online here.

Cattle Town, poster, US poster art, from left: Dennis Morgan, Rita Moreno, 1952. (Photo by LMPC via Getty Images)

1st October 1955: Puerto Rican actress, dancer and singer Rita Moreno is featured for the cover of Picture Post magazine. Original Publication: Picture Post Cover – Vol 69 No 01 – pub. 1955. (Photo by IPC Magazines/Picture Post/Hulton Archive/Getty Images)

Shirley Knight TCM Overview

Shirley Knight is a lovelyactress of the 1960’s who had matured into a powerhouse character actress to-day. She was born in 1936 in Kansas. One of her first films was “Ice Palace” in 1960 with Richared Burton, Robert Ryan, Carolyn Jones and Ray Danton. She starred opposite Paul Newman in “Sweet Bird of Youth” and was one of “The Group” in 1966. Francis Ford Coppola directed her in “The Rain People” in 1969. She continues to appear regularly on television in shows such as “Law & Order”.

TCM Overview:

Kansas-born Shirley Knight originally intended to be an opera singer until she saw a touring company of “The Lark” starring Julie Harris and switched to acting. In 1957, she headed west to study at the Pasadena Playhouse where she made her stage debut the following year in “Look Back in Anger”. Knight was put under contract by Warner Bros. and the petite blonde earned critical acclaim and a Best Supporting Actress Oscar nomination as an Oklahoman in love with a Jew in the screen adaptation of William Inge’s “The Dark at the Top of the Stairs” (1960). She picked up a second nod in the same category as Heavenly Finley, the woman seduced and abandoned by Chance Wayne, in “Sweet Bird of Youth” (1962). In “The Group” (1966), her character found seeming happiness with James Broderick while later that same year she delivered a strong turn as a sluttish white woman who confronts a young black male passenger in “The Dutchman”. After a strong turn as a pregnant woman who runs off with a football player in Francis Ford Coppola’s “The Rain People” (1969), Knight moved to England with her second husband, British playwright John Hopkins and did not act on screen for five years, returning in “Juggernaut” (1974). Her subsequent film roles have generally cast her in maternal roles as in “Endless Love” (1981), “Stuart Saves His Family” (1995) and “As Good As It Gets” (1997).

While she found almost immediate success in films, Knight has a stated preference for stage work. Spurning an offer to play Ophelia to Richard Burton’s “Hamlet”, she opted to co-star with Geraldine Page and Kim Stanley in an Actors Studio production of Chekhov’s “Three Sisters” (1964). She acquired a Tony as Featured Actress in a Play for her turn as a floozy in “Kennedy’s Children” (1975) and has appeared in several classics including twice playing Blanche in “A Streetcar Named Desire”, Lola in “Come Back, Little Sheba” and Amanda Wingfield in “The Glass Menagerie”. More recently, Knight returned to Broadway and netted a Tony nomination for her turn as a woman who refuses to accept that her son committed suicide in Horton Foote’s Pulitzer-winning “The Young Man From Atlanta” in 1997.

The small screen has also provided the actress with challenging roles. She made her first appearance in the medium in a live broadcast in 1959 and amassed numerous guest credits in the 60s and 70s. Knight co-starred opposite Jason Robards in a “Hallmark Hall of Fame” presentation of “The Country Girl” (NBC, 1974) and Alan Arkin in the above average CBS movie “The Defection of Simas Kudirka” (1978). She offered a strong turn and earned her first Emmy nomination as a concentration camp inmate in the acclaimed “Playing for Time” (CBS, 1980) before picking up the award for a guest appearance as the mother of Mel Harris’ Hope in a 1987 episode of ABC’s “thirtysomething”.

Knight had her first regular series role in the short-lived 1993 CBS drama “Angel Falls”. At the 1995 Emmy Awards, she picked up two statuettes, one for her guest appearance as the mother of a murder victim in an episode of “NYPD Blue” and the second as day care center owner Peggy Buckley who was accused of and tried for child molestation in the fact-based HBO drama “Indictment: The McMartin Trial”. Knight has continued to be a powerful presence in the medium, offering effective supporting turns in such made-for-television fare as “Stolen Memories: Secrets From the Rose Garden” (Family Channel, 1996), “Mary & Tim” (CBS, 1996) and “The Wedding” (ABC, 1998). She returned to regular series work cast as the mother of the titular “Maggie Winters” in the short-lived 1998 CBS sitcom starring Faith Ford. The actress’s schedule remained packed with continual roles in feature films–including “Angel Eyes” (2001), “The Salton Sea” (2002) and “The Divine Secrets of the Ya-Ya Sisterhood” (2002).

Knight became a regular fixture on the small screen with guest appearances on such series as “Ally McBeal,” “ER,” “Law & Order: Special Victims Unit,” “Crossing Jordan,” and “Cold Case” and “House,” and in 2005 she began a recurring stint on “Desperate Housewives” as Phyllis Van De Kamp, the meddling mother-in-law of tightly wound Bree (Marcia Cross). The above TCM overview can also be accessed online here.

Los Angeles Times obituary in April 2020.

Shirley Knight, the Kansas-born actress who was nominated for two Oscars early in her career and went on to play an astonishing variety of roles in movies, TV and the stage, has died. She was 83.

Knight died Wednesday at her daughter’s home in San Marcos, Texas, according to her daughter Kaitlin Hopkins.

Knight’s career carried her from Kansas to Hollywood and then to the New York theater and London and back to Hollywood. She was nominated for two Tonys, winning one. In recent years, she had a recurring role as Phyllis Van de Kamp (the mother-in-law of Marcia Cross’ character) in the long-running ABC show “Desperate Housewives,” gaining one of her many Emmy nominations.

Knight’s first Academy Award nomination for supporting actress came in just her second screen role, as an Oklahoman in love with a Jewish man in the 1960 film version of William Inge’s play “The Dark at the Top of the Stairs.”

She was nominated for a supporting actress Oscar two years later for her performance as the woman seduced and abandoned by Paul Newman in the 1962 film “Sweet Bird of Youth,” based on the Tennessee Williams play.

As success beckoned in 1960, she told columnist Hedda Hopper that she was struggling to keep on an even keel and continue bettering herself as an actress.

“So many actors, once they became famous, lose some beautiful inner thing, something they should try hard to keep,” she said. “They begin to think too highly of themselves and success.”

For a time, she lived in New York, where she studied with Lee Strasberg. She turned down an offer to play Ophelia to Richard Burton’s Hamlet, preferring to appear on Broadway in 1964 with Geraldine Page and Kim Stanley in Anton Chekhov’s “The Three Sisters,” directed by Strasberg.

Her beauty helped bring her roles in such films as “The Group” (1966), based on Mary McCarthy’s novel about the lives of a group of college girls, and “Dutchman” (1967), from Amiri Baraka’s explosive one-act play about a middle-class black man and a sexually provocative white woman. After playing a pregnant woman who runs off with a football player in Francis Ford Coppola’s “The Rain People,” released in 1969, Knight wearied of the Hollywood routine, terming the studio bosses “blockheads.”

Knight moved to England with her second husband, British playwright John Hopkins, with whom she had a daughter, Sophie. (Her first husband was producer Gene Persoff, father of her older daughter, Kaitlin.)

Over the next few years, she raised her daughters and did needlework. But “I decided that acting is what I do best,” she said. The family moved back to the U.S. and Knight returned to films in “Beyond the Poseidon Adventure.” She also appeared in such films as “Endless Love” (as Brooke Shields’ mother), “As Good as It Gets” (as Helen Hunt’s mother) and “Divine Secrets of the Ya-Ya Sisterhood.”

Meanwhile, she thrived onstage and in television. She won a Tony award in 1976 as featured actress in a play for “Kennedy’s Children.” Knight played, in the words of the New York Times review, “a very tart tart with an ambition of gold.”

She was nominated for another Tony in 1997 for best actress in Horton Foote’s “The Young Man From Atlanta.” As the Times put it, “The splendid Ms. Knight, who doesn’t waste a single fluttery gesture, brings an Ibsenesque weight to a woman frozen in the role of petulant, spoiled child bride.”

Knight became active in television starting in the 1950s and was nominated for Emmys eight times from 1981 to 2006. She won a guest actress Emmy in 1988 for playing Mel Harris’ mother in “Thirtysomething,” and then won two Emmys in the same year, 1995: for a supporting actress role in the TV drama “Indictment: The McMartin Trial” and for a guest actress role as a murder victim in “NYPD Blue.”

She was born Shirley Enola Knight on July 5, 1936, in the Kansas countryside, 10 miles from the town of Lyons. Her family was musical and she learned to sing, tap dance and play various instruments.

She was the first in her family to enter college, winning a scholarship to a church college in Enid, Okla., then moved to Wichita State University. She appeared in 32 plays in two years and did two seasons of summer stock.

She aimed to become an opera singer, then switched to acting when she saw Julie Harris in a touring company of “The Lark.” She traveled west to study acting at the Pasadena Playhouse. Warner Bros. signed her to a contract.

Knight is survived by her daughters, Kaitlin and Sophie C. Hopkins.

Norman Lloyd

Norman Lloyd was born in 1914 in Jersey City. He was a memorable villian in Alfred Hitchcock’s “Saboteur” in 1942. He was also featured by Hitchcock in “Spellbound”. In the 1980’s he starred in the very popular medical drama “St. Elsewhere” which ran from 1983 to 1988.

TCM Overview:

One of the most respected figures in entertainment history, actor-producer-director Norman Lloyd’s résumé read like a roll call of 20th century icons. Among his collaborative partners and directors were Charlie Chaplin, Alfred Hitchcock, Orson Welles, Jean Renoir, Lewis Milestone and John Houseman; each of whom employed his crisp, professional screen and stage presence in such efforts as “Saboteur” (1942), “Spellbound” (1945), “A Walk in the Sun” (1945) and “Limelight” (1952). The Communist witch hunt of the 1950s briefly hampered Lloyd’s career, but Hitchcock brought him back into the limelight as the producer of his acclaimed anthology series “Alfred Hitchcock Presents (CBS/NBC, 1955-1962). Modern audiences best knew him as the sage Dr. Auschlander on “St. Elsewhere” (NBC, 1982-88), but his career was thriving long before it, and for decades after its cancellation. A legend in the film and television field, and one of the oldest working actors in show business history, Lloyd represented the pinnacle of accomplishment and endurance for generations of fans.

Born Nov. 8, 1914 in Jersey City, NJ, he moved with his family to Manhattan and then Brooklyn shortly after his birth. Though he showed considerable talent at tennis while a boy, his mother hoped that he would blossom into a child star, so she began enrolling him in acting classes. Several years on the amateur vaudeville circuit followed, but Lloyd did not truly embrace performing until a student in high school, where he participated in numerous plays. After graduating from college, Lloyd joined Eva Le Gallienne’s Civic Repertory Theatre in New York, which began a decade of appearances in off-Broadway and Broadway plays. In 1937, Lloyd was one of the original players in Orson Welles’ and John Houseman’s Mercury Theatre, as well as appeared as Cinna the Poet in its historic modern dress production of Shakespeare’s “Julius Caesar.” The following year, his performance as Johnny Appleseed in “Everywhere I Roam” drew rave reviews. Lloyd’s onscreen debut came in “The Streets of New York” (NBC, 1939), an experimental televised play directed by Anthony Mann and starring Jennifer Jones and George Colouris. In 1940, he followed Welles to Los Angeles to appear in a film version of Joseph Conrad’s “Heart of Darkness.” The project never got off the ground, but it did grant Lloyd a new home base in Hollywood.

John Houseman introduced Lloyd to Alfred Hitchcock, who was looking for an unknown actor to play a dastardly Nazi spy in his thriller “Saboteur” (1942). The film’s closing sequence, which pits hero Robert Cummings against Lloyd in a fight atop the Statue of Liberty before the latter plunges to his death, was among the most iconic scenes in Hitchcock’s career. The film also served as a beginning of a three-decade partnership and friendship between Lloyd and the director, who would subsequently cast him in “Spellbound” (1945) as a patient of psychiatrist Ingrid Bergman. Lloyd worked as a character actor for some of the most significant film directors of the 1940s and 1950s. He was a churlish henchman for J. Carrol Naish’s misguided farmer in Jean Renoir’s Oscar-nominated “The Southerner” (1945), then segued to the philosophical Army scout in Lewis Milestone’s “A Walk in the Sun” (1945), largely regarded as one of the best films about World War II combat. In 1951, he played Bodalink the choreographer in Charlie Chaplin’s last great film, “Limelight.” Lloyd and Chaplin later co-owned the film rights for Horace McCoy’s novel, They Shoot Horses, Don’t They? which they hoped to make into a film after “Limelight.” Sadly, Chaplin became persona non grata in the United States due to his alleged Communist sympathies, which prevented them from making the film. It was eventually purchased by ABC, which produced a version directed by Sydney Pollack in 1969.

The specter of Communism loomed largely over Lloyd’s career in the early 1950s. Many of his significant collaborators suffered mightily at the hands of the government witch hunt, including Joseph Losey, who directed him in the 1951 remake of “M,” as well as John Garfield, his co-star in the thriller “He Ran All The Way” (1951), which marked the end of the actor’s career after being blacklisted along with its director, John Berry, and writers Dalton Trumbo and Hugo Butler. Lloyd himself found himself targeted by the House Committee on Un-American Activities in the early 1950s, just as he was segueing into directing for television. A frequent stage director at the La Jolla Playhouse in San Diego, CA, Lloyd was approached by Jay Kantor at MCA about getting involved in the company’s initial launch into this new genre. He helmed episodes for several live theater productions, including the legendary “Omnibus” (ABC/CBS/NBC, 1952-1961) before reteaming with Hitchcock as his associate producer and occasional director for “Alfred Hitchcock Presents” (CBS/NBC, 1955-1962). Among his most memorable turns as director for the series were “Man from the South,” with Steve McQueen as a callous gambler who bet a depraved Peter Lorre that he could ignite his lighter 10 times in a row or lose a finger, and “The Jar,” based on a story by Ray Bradbury about a down-on-his-luck hillbilly (Pat Buttram) who bought a mysterious container that changed his life for the worse.

Lloyd worked primarily as a producer and director on television throughout the 1960s and 1970s, most notably on “The Name of the Game” (NBC, 1968-1971), an offbeat anthology series about the adventures of three publishing company employees, and the UK suspense anthology “Journey to the Unknown” (ITV, 1968-69) for Hammer Films. He also produced and/or directed several well-regarded television adaptations of great Broadway plays, including Lillian Hellman’s “Another Part of the Forest” (PBS, 1972) with Barry Sullivan and Andrew Prine, Clifford Odets’ “Awake and Sing!” (PBS, 1972) with Walter Matthau, and Bruce Jay Friedman’s “Steambath” (PBS, 1973) with Bill Bixby and Valerie Perrine; the latter earned Lloyd a 1974 Emmy nomination. His final efforts as producer and director came with “Tales of the Unexpected” (ITV, 1979-1983), which was largely based on the short stories of Roald Dahl.

As the stigma of the blacklist began to dissipate in the 1960s and 1970s, Lloyd began to resume his acting career. Guest roles on episodic television gave way to TV and theatrical feature turns, including “Audrey Rose” (1977) as a therapist who aided a little girl plagued by the reincarnated spirit of a dead child, and as the sympathetic owner of a radio station who backed his DJs during a protest over advertising in cinematographer John Alonzo’s sole directorial effort, “FM” (1978). In 1982, he took on the role that, for many television viewers, he would remain best known: that of Dr. Daniel Auschlander on “St. Elsewhere.” A kindly mentor to its large cast of doctors and interns, Auschlander suffered from metastatic liver cancer, and was expected to pass away soon after the first few seasons. However, intensive chemotherapy put his illness in remission and he remained a vital member of the show until its final episode, when he was felled by a massive stroke. However, the finale’s legendary twist – in which the entire show was revealed as the figment of an autistic boy’s imagination – revealed him as the boy’s grandfather.

Lloyd remained active in television and the occasional feature in the years after “St. Elsewhere.” He was the authoritarian head of the boys’ school who butted heads with freethinking teacher Robin Williams in “Dead Poets Society” (1989), and the senior partner at Daniel Day-Lewis’ law firm in Martin Scorsese’s “The Age of Innocence” (1993). He reunited with his “St. Elsewhere” producers for the short-lived series “Home Fires” (NBC, 1992), and he played Dr. Isaac Mentnor, a scientist who created a time travel device using the alien spacecraft that landed in Roswell, New Mexico, in “Seven Days” (UPN, 1998-2001). Notable guest turns included a recurring role on “The Practice” (ABC, 1997-2004) as Asher Silverman, a district attorney and practicing rabbi who challenged Dylan McDermott’s Bobby Donnelly on ethical issues. In 2000, he co-starred as the Secretary of Defense in a live TV remake of “Fail Safe” (CBS) that starred George Clooney, and in 2005 – well into his ninth decade – he received rave reviews as a former English professor, now a resident at a retirement home, who bonds with Cameron Diaz’s fading wild child over poetry in Curtis Hansen’s comedy-drama, “In Her Shoes.” In 2007, Lloyd’s storied career was the subject of a documentary, “Who Is Norman Lloyd,” a gentle valentine to the actor’s life and accomplishments, as well as his lengthy marriage to actress Peggy Lloyd, whom he wed in 1936. As he approached his 100th birthday, he was still performing, most notably in a 2010 episode of “Modern Family” (ABC, 2009- ).

The above TCM overview can also be accessed online here.

Imogene Coca was born in 1908 in Philadelphia. She is maninly known for her television performances especially “Your Show of Shows” in the early 1950’s. In 1963 she starred in the series “Grindl”. On film she was terrific in “National Lampoon Vacation” in 1983. Imogene Coca died in 2001 at the age of 92. She was married to the actor King Donovan.

“Independent” obituary:

Zany, saucer-eyed and elastic-faced, Imogene Coca was a diminutive comedienne and actress whose performances with Sid Caesar in the television series Your Show of Shows in the early Fifties have become the stuff of legend. Coca could satirise anyone, from housewife to society matron, movie star to opera diva or ballerina, and her clowning was an acknowledged inspiration for many that followed. Both Carol Burnett and Lily Tomlin have said that Coca was a strong influence on their work, Tomlin remarking some years ago, “I was so attracted to her comic striptease routine that I copied it stole it! when I was in college.”

Though she had success in night-clubs, movies and on Broadway, Coca will always be remembered for Your Show of Shows, which for over four years from 1950 dominated Saturday nights on American television. Blessed with a gifted team of writers including Mel Brooks, Neil Simon and Woody Allen, it is considered one of the classics of television’s “Golden Age”. Coca was steeped in show business from the moment she was born, but her climb to stardom was a long one. Her parents were José Fernandez Coca, a violinist and vaudeville bandleader, and Sadie Brady, a dancer who also performed in a magician’s act. An only child, she spent her childhood either in the theatres where her parents worked or in the tumultuous Philadelphia theatrical boarding house where they lived between engagements. She began piano lessons at the age of five, singing lessons at six and dancing lessons at seven. “I began on the stage as one of those horrible little children who sing with no voice,” she later recalled. She attended school in Atlantic City for a while, but by the age of 11 was performing in vaudeville doing tap, acrobatic and ballet dancing.

At 13 she was singing in a slinky black dress at a Pennsylvania night-club, and at 15 left Philadelphia for New York, where she danced in Jimmy Durante’s Silver City Club. She made her Broadway début as a chorus girl in the musical When You Smile(1925), which lasted for only 49 performances, and for the next nine years she played in virtually every form of show business musicals, revues, night-clubs and summer stock working mainly as a dancer. “I never thought of myself in comedy at all,” she said: I loved going to the theatre and seeing people wearing beautiful clothes come down the staircase and start to dance. I also wanted to play St Joan. On Broadway her winsome charm was displayed in such revues asGarrick Gaieties (1930), Shoot the Works (1931) and Flying Colors(1932). Her transition to comedy and pantomime came by accident when she was rehearsing in a cold theatre for New Faces of 1934. Lent an enormous coat to keep warm she began clowning around. She later recalled,

Along with three boys in the chorus, I was jumping up and down to keep warm. Then we found ourselves doing silly little steps when producer Leonard Stillman came in. He asked what we were doing, then said, “It looks funny; I’ll put it in the show.” We thought that was crazy, but it turned out to be a big hit. Stillman had her perform almost the entire show in the top-coat as a running gag, at one point having her saunter across the stage in it, carrying a small feather and announcing that she was doing her fan dance. Although Henry Fonda was another of the new talents in the show it had only a modest run, but Coca was hailed as a bright new comedy find and Stillman used her again in New Faces of 1936, in which she reprised her coat routine and also played a Cinderella who begs her fairy godmother to let her be a stripper. In the Thirties the summer camps where families vacationed in the mountain regions of the Catskills and Poconos were great training grounds for performers, and for several summers Coca worked on her comedy at such camps, where others developing their skills included Danny Kaye, Jerome Robbins, Carol Channing and the producer Max Leibman. When Leibman took some of the material that had been tried out at the camps and packaged it on Broadway as The Straw Hat Revue (1939), Kaye, Coca and Robbins were in the cast, with Coca stopping the show with a parody of Carmen Miranda, “Soused American Way”.

Though she had acquired a small following, her career proceeded in what she later termed “fits and starts” until Leibman, who had worked with both Coca and Sid Caesar in the Catskills, paired them in a television variety series, Admiral Broadway Revue(1949). Telecast live from a theatre in New York, it was a spectacular production with the dancers Marge and Gower Champion among its regulars plus top-name guests every week. Each show would have half a dozen comedy skits the opening programme concluded with a burlesque on opera, No No Rigoletto, in the style of the revue producer Billy Rose. The series lasted only six months, but Caesar and Coca returned the following year for Your Show of Shows, a similarly ambitious 90-minute weekly variety series which had a large corps of singers and dancers but was dominated by the comic genius of Caesar and Coca. They appeared in regular routines such as “History the Way She Ain’t” and as a hilariously mismatched married couple, “The Hickenloopers”, and satirised current films and television shows such as Shane (with Caesar a fearless gunfighter called “Strange”) and one of their best-remembered sketches, “From Here to Obscurity”, which concluded with the couple alone on a beach in their swimsuits, trying to make love as buckets of water splash into their faces. Finally he says, “There’s one thing I have to ask.” “Yes?” “Did you bring a towel?”

Coca’s musical training was an asset in her parodies of opera divas and prima ballerinas, such as her interpretation of a fiercely intense young Wagnerian. The mezzo-soprano Rise Stevens said, “You’re always deathly afraid the young singer will never make the last note. With Imogene, you’re always afraid she will.” Her dance spoofs, such as her pursuit of a prancing satyr inAfternoon of a Faun, were based on finely exaggerated professional movements rather than ungainly posturing. Her gifts for pantomime were extraordinary, and her face remarkably supple. In one sketch, she was a wife posing for her amateur photographer husband (Caesar) who could not quite satisfy himself about her expression. Poking and pushing, he kept rearranging her features, which froze where he put them. Finally he had her with one eye shut tight as the other followed him around the room like a searchlight.

Coca later said that she and Caesar never saw each other socially, but performed with exactly the same rhythm when the camera was on: Two people couldn’t be less alike than Sid and myself. But we kind of know what the other one’s going to do. We pick up each other’s vibes, and we find the same things funny. In 1951 they both won Emmy Awards as the best actor and actress on television. Carl Reiner and Howard Morris later joined the show and became important members of the comedy team, performing with Caesar and Coca a routine in which the four are mechanical figures on a Bavarian clock who go increasingly haywire as each hour strikes. The show ended in 1954 with a tearful recap of the best sketches from the previous four years, and even the president of NBC turned up to thank everyone and wish them well.

Neither Caesar nor Coca ever quite recaptured that magic, either separately or together. Coca was given her own television series, which lasted only one season, but in 1956 she successfully took over from Claudette Colbert in the Broadway comedy Janus. In 1958 she accompanied Caesar to England to do a series of playlets for the BBC, and she starred in touring versions of several musicals including Wonderful Town, Once Upon a Mattress andBells are Ringing. In 1967 The Sid Caesar, Imogene Coca, Carl Reiner and Howard Morris Special reunited the former team and won an Emmy as outstanding variety special.

Coca’s first film was Bashful Ballerina (1937) and later films included Under the Yum Yum Tree (1963), in which she was a nosy housekeeper to a lecherous landlord, Jack Lemmon, and National Lampoon’s Vacation (1983), as Aunt Edna. In 1978 she won a Tony nomination for her portrayal of a religious fanatic in the Broadway musical On the Twentieth Century,Tom Vallance a part that had been turned down by Mildred Natwick because it was “too risqué“.

A shy person offstage, Coca was an animal lover who once, while on holiday in California, bought a crippled duck and brought it back to live on her penthouse terrace in Manhattan. In 1935 she married Robert Burton, who arranged music for many of her sketches. He died in 1955 and five years later Coca married the actor King Donovan, with whom she appeared in in such plays asThe Fourposter and The Prisoner of Second Avenue. He died in 1987.

In 1991 Coca and Caesar recreated some old sketches in a stage show, Together Again, which they took across the United States to a warm response. Coca said:

Married people still have silly arguments, Hollywood still turns out silly movies, ballet dancers still do silly things on stage. So in some ways not much has changed.

Tom Vallance

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

Geneviève Bujold (French pronunciation: [ʒənvjɛv byʒo]; born July 1, 1942) is a Canadian actress. For her portrayal of Anne Boleyn in the period drama film Anne of the Thousand Days (1969), Bujold received a nomination for the Academy Award for Best Actress. Her other film credits include The Trojan Women (1971), Earthquake (1974), Obsession (1976), Coma (1978), Murder by Decree (1979), Tightrope(1984), Choose Me (1984), Dead Ringers (1988), The House of Yes (1997), and Still Mine (2012).

She was born in Montreal, Quebec, the daughter of Laurette (née Cavanagh), a maid, and Joseph Firmin Bujold, a bus driver. She is of French Canadian descent, with distant Irish ancestry.

Bujold received a strict convent education for twelve years, which she disliked. She was expelled from the convent for reportedly reading Fanny by Marcel Pagnol. She entered the Montreal Conservatory of Dramatic Art,^[5][6] where she was trained in the classics of French theatre.

Two months before she was to graduate she made her stage debut as Rosine in Le Barbier de Séville in 1961 with Theâtre de Gesù. She quit the school and was rarely out of work, being in demand for radio, stage, TV and film. Bujold made her TV debut with Le square (1963), a 60-minute TV film based on a play by Marguerite Duras, co-starring Georges Groulx. She was in episodes of Jeudi-théâtre (“Atout… Meurtre”) and Les belles histoires des pays d’en haut (“La terre de Bidou”) and guest starred on Ti-Jean caribou. Her Canadian feature film debut was in Amanita Pestilens (1963). She was then in an international co production La fleur de l’âge, ou Les adolescentes (1964) and had a lead role in La terre à boire(1964), the first Quebec feature to be privately financed. Bujold starred in two 30 minute shorts, La fin des étés (1964) and Geneviève (1964). She toured Canada performing plays also worked steadily in radio and was voted actress of the year in Montreal.

In 1965, she toured Russia and France with the company of the Théâtre du Rideau Vert. While in Paris, Bujold was in a play A House… and a Day when she was seen by renowned French director Alain Resnais. He selected her for a role in his film The War Is Over, opposite Yves Montand and Ingrid Thulin. She returned home briefly to appear in “Romeo and Jeannette” by Jean Anouilh alongside Michael Sarrazin, for a Canadian TV show Festival. Also for that show she did productions of The Murderer and A Doll’s House.

She stayed in France to make two more films: Philippe de Broca‘s King of Hearts (1966), with Alan Bates, and Louis Malle‘s The Thief of Paris (1967), with Jean-Paul Belmondo. Bujold won the Prix Suzanne as the Discovery of the Year and Elle magazine called her The Girl of the Day. Despite having established herself in France, however, she returned to Canada.

Upon her return to Canada, Bujold married film director Paul Almond in 1967. He directed her in “The Puppet Caravan” for Festival in 1967. She appeared in Michel Brault‘s film Between Salt and Sweet Water (1967), then went to New York to play the title role in a production of Saint Joan (1967) for Hallmark Hall of Fame on American TV. Although she said she preferred film most and television least out of all the mediums, she received great acclaim for this including an Emmy nomination.

In Canada she starred in Isabel (1968), written and directed by Almond. It was one of the first Canadian films to be picked up for distribution by a major Hollywood studio.

International recognition came in 1969, when she starred as Anne Boleyn in Charles Jarrott‘s film Anne of the Thousand Days, with Richard Burton. Producer Hal B. Wallis cast her after seeing her in Isabel.

For her performance, she received the Golden Globe Award for Best Actress in a Motion Picture – Drama,^[14] and received a nomination for the Academy Award for Best Actress. It was released by Universal who signed her to a three-picture contract.

Back in Canada, she did a second feature with her husband, The Act of the Heart (1970), co starring Donald Sutherland, which earned her a Best Actress at the Canadian Film Awards. She wrote and starred in a short film, Marie-Christine (1970), directed by Claude Jutra. Wallis and Universal wanted Bujold to star in Mary, Queen of Scots (1971) but she refused so they sued her for $450,000.

Instead she played the role of Cassandra, a Greek prophet, in Michael Cacoyannis‘s film version of The Trojan Women (1971), opposite Katharine Hepburn, Vanessa Redgrave, and Irene Papas. It was shot in Spain. In Canada, she made Journey (1972) with Almond and co-starring John Vernon. Bujold won another Canadian Film Award for Best Actress. She and Almond would divorce in 1974 after multiple separations and reconciliations.^[16] She starred in Claude Jutra‘s Kamouraska (1973), based on a novel by Anne Hébert, for which she received her third Canadian Film Award for Best Actress.^[16] In the US, she appeared in an adaptation of Jean Anouilh‘s Antigone for PBS‘s Great Performances in 1974.

She settled the lawsuit with Universal, agreeing to a three-picture film contract starting with Earthquake (1974), starring with Charlton Heston. In 1973, after her marriage to Paul Almond ended, she relocated to Los Angeles.

Bujold went to France to make Incorrigible (1975) with de Broca and Belmondo. For Hallmark Hall of Fame and the BBC she appeared in Caesar and Cleopatra (1975) alongside Alec Guinness.

At Universal Studios, she was the lead in Swashbuckler (1976) alongside Robert Shaw. In an interview she said, “Robert Shaw is a man worth knowing.”^[17]

In 1976, she appeared in Obsession (1976) directed by Brian De Palma^[18] co-starring Cliff Robertson (1976). Bujold made Alex & the Gypsy (1976) with Jack Lemmon and Another Man, Another Chance (1977), co-starring James Caan (1977) for Claude Lelouch.

She was lead with Michael Douglas in the medical thriller Coma (1978), directed by Michael Crichton, which was a box office hit.

Bujold returned to Canada to play a key role in the Sherlock Holmes film Murder by Decree (1979), which won her a Best Supporting Actress Award at the Canadian Film Awards.

For Walt Disney she appeared in the fantasy film The Last Flight of Noah’s Ark (1980) with Elliott Gould and Charles Jarrott, director of Anne of the Thousand Days. She was directed by Almond once more in the Canadian Final Assignment (1980).

Bujold starred in a TV movie Mistress of Paradise (1981), then supported Christopher Reeve in Monsignor (1982), and Clint Eastwood in Tightrope (1984).

Bujold starred in Choose Me (1984), directed and written by Alan Rudolph. She promptly made two more films for Rudolph: Trouble in Mind (1985) and The Moderns (1988), the latter set in Paris in the 1920s. She was part of his informal company of actors that he repeatedly used in his films, including Keith Carradine.

Bujold starred in David Cronenberg‘s Dead Ringers (1988) opposite Jeremy Irons, then made a TV movie Red Earth, White Earth (1989).^[19] She did False Identity (1990) with Stacy Keach.

After a long absence from Quebec, she returned to appear in two more films by Michel Brault: The Paper Wedding (1989), and My Friend Max (1994). In between she went to France to make Rue du Bac (1991), and did another film with Almond, The Dance Goes On (1991), the latter featuring their son, Matthew (born in 1968). She had support roles in Oh, What a Night (1993), and An Ambush of Ghosts (1993).

In 1994, Bujold was chosen to play Captain Elizabeth Janeway (subsequently renamed Kathryn Janeway),^[20] lead character in the ensemble cast of the American television series Star Trek: Voyager. However, she left the project after just two days of filming, because of the demanding work schedule. Kate Mulgrew was subsequently cast in the role.

Bujold had support roles in The Adventures of Pinocchio (1995), The House of Yes (1997), Last Night (1998), You Can Thank Me Later (1998), Eye of the Beholder (1999), The Bookfair Murders (2000), Children of My Heart (2001) and Alex in Wonder (2001)

Bujold was in Dead Innocent (1997) and was in a short Matisse & Picasso: A Gentle Rivalry (2001).

Bujold was back in Quebec to star in Chaos and Desire (2002), directed by Manon Briand. That year she said “I like doing studio films, independent films. I want to step up to the plate and do it. The role doesn’t have to be long, but it has to be essential to the film. And it’s got to be truthful to me. I defend my characters. They’re like my babies.”

Bujold’s later appearances include Jericho Mansions (2003), Finding Home (2004), Downtown: A Street Tale (2004), By the Pricking of My Thumbs (2005), Disappearances (2006), and Deliver Me (2006).

Bujold was also in The Trotsky (2009), For the Love of God (2011), and Northern Borders (2013).

In 2012, Bujold played a woman battling dementia in the sleeper romantic drama Still Mine. Stephen Holden of The New York Times commented: “Ms. Bujold imbues Irene with a starchy tenacity and a sharp sense of humor”, while The Washington Post called her performance “superb” and “remarkably detailed”.

Bujold’s later films include Chorus (2015).

Collection of Classic Hollywood Actors

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Estelle Parsons

Mara Lane

Richard Beymer

Rita Moreno

Shirley Knight

Shirley Knight TCM Overview

Norman Lloyd

Imogene Coca

Genevieve Bujold

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