Anna May Wong
Anna May Wong was an American actress, considered to be the first Toisonese Chinese American Hollywood movie star, as well as the first Chinese American actress to gain international recognition. Her long and varied career spanned silent film, sound film, television and radio. Born in Los Angeles to second-generation Toisonese -Chinese-American parents, Wong became infatuated with the movies and began acting in films at an early age. During the silent film era, she acted in The Toll of the Sea, one of the first movies made in color and Douglas Fairbanks' The Thief of Bagdad. Wong became a fashion icon and had achieved international stardom in 1924. Frustrated by the stereotypical supporting roles she reluctantly played in Hollywood, Wong left for Europe in the late 1920s, where she starred in several notable plays and films, among them Piccadilly, she spent the first half of the 1930s traveling between the United States and Europe for film and stage work. Wong was featured in films of the early sound era, such as Daughter of the Dragon and Daughter of Shanghai and with Marlene Dietrich in Josef von Sternberg's Shanghai Express.
In 1935 Wong was dealt the most severe disappointment of her career, when Metro-Goldwyn-Mayer refused to consider her for the leading role of the Chinese character O-Lan in the film version of Pearl S. Buck's The Good Earth, choosing instead the white actress Luise Rainer to play the leading role. Wong spent the next year touring China, visiting her family's ancestral village and studying Chinese culture. In the late 1930s, she starred in several B movies for Paramount Pictures, portraying Chinese and Chinese Americans in a positive light, she paid less attention to her film career during World War II, when she devoted her time and money to helping the Chinese cause against Japan. Wong returned to the public eye in the 1950s in several television appearances. In 1951, Wong made history with her television show The Gallery of Madame Liu-Tsong, the first U. S. television show starring an Asian American series lead. She had been planning to return to film in Flower Drum Song when she died in 1961, at the age of 56 from a heart attack.
For decades after her death, Wong was remembered principally for the stereotypical "Dragon Lady" and demure "Butterfly" roles that she was given. Her life and career were re-evaluated in the years around the centennial of her birth, in three major literary works and film retrospectives. Anna May Wong was born Wong Liu Tsong on January 3, 1905, on Flower Street in Los Angeles, one block north of Chinatown, in an integrated community of Chinese, Irish and Japanese residents, she was the second of seven children born to Wong Sam Sing, owner of the Sam Kee Laundry, his second wife Lee Gon Toy. Wong's parents were second-generation Chinese Americans. S. since at least 1855. Her paternal grandfather, A Wong Wong, was a merchant who owned two stores in Michigan Hills, a gold-mining area in Placer County, he had come from Chang On, a village near Taishan, Guangdong Province, China in 1853. Anna May's father spent his youth traveling between the U. S. and China, where he married his first wife and fathered a son in 1890.
He returned to the U. S. in the late 1890s and in 1901, while continuing to support his family in China, he married a second wife, Anna May's mother. Anna May's older sister Lew Ying was born in late 1902, Anna May in 1905, followed by five more children. In 1910, the family moved to a neighborhood on Figueroa Street where they were the only Chinese on their block, living alongside Mexican and Eastern European families; the two hills separating their new home from Chinatown helped Wong to assimilate into American culture. She attended public school with her older sister at first, but when the girls became the target of racial taunts from other students, they moved to a Presbyterian Chinese school. Classes were taught in English, but Wong attended a Chinese language school afternoons and on Saturdays. About that same time, U. S. motion picture production began to relocate from the East Coast to the Los Angeles area. Movies were shot in and around Wong's neighborhood, she began going to Nickelodeon movie theaters and became obsessed with the "flickers", missing school and using lunch money to attend the cinema.
Her father was not happy with her interest in films, feeling that it interfered with her studies, but Wong decided to pursue a film career regardless. At the age of nine, she begged filmmakers to give her roles, earning herself the nickname "C. C. C." or "Curious Chinese Child". By the age of 11, Wong had come up with her stage name of Anna May Wong, formed by joining both her English and family names. Wong was working at Hollywood's Ville de Paris department store when Metro Pictures needed 300 female extras to appear in Alla Nazimova's film The Red Lantern. Without her father's knowledge, a friend of his with movie connections helped her land an uncredited role as an extra carrying a lantern. Wong worked for the next two years as an extra in various movies, including Priscilla Dean and Colleen Moore pictures. While still a student, Wong came down with an illness identified as St. Vitus's Dance which caused her to miss months of school, she was on the verge of emotional collapse when her father took her to a practitioner of traditional Chinese medicine.
The treatments proved successful, though Wong claimed this had more to do with her dislike of the methods. Other Chinese thought such as Confucianism and Taoism and the teachings of Laozi had a strong influence on Wong's personal philosophy
The Casino Murder Case (film)
The Casino Murder Case is a 1935 American mystery film starring Paul Lukas and Alison Skipworth. It was directed by Edwin L. Marin from a screenplay by Florence Ryerson and Edgar Allan Woolf, based on the 1934 novel of the same name by S. S. Van Dine, it was the ninth film in the Philo Vance film series. Gentleman detective Philo Vance begins an investigation when he receives an anonymous letter stating that society man Lynn Llewellyn will be in danger when he appears at the casino owned by his uncle, Kinkaid. Vance visits the Llewellyn estate, run by Mrs. Priscilla Kinkaid-Llewellyn, the matriarch of the household, stumbles into one of the family's many quarrels. At the end of the bitter quarrel, which involves Mrs. Llewellyn's son Lynn and his wife Virginia, Virginia announces that she has decided to leave the house and go to Chicago. During the tiff and Doris, Mrs. Llewellyn's secretary, are introduced to each other, Doris takes a liking to Vance. Vance takes Doris to his home, where he and District Attorney Markham show her the mysterious letter.
Doris recognizes the return address as being that of the Llewellyn's townhouse in Closter, notices that the letter was typed on her typewriter. Vance assigns Sergeant Heath to help stake out the casino that night, but their presence does not prevent Lynn from collapsing at the card table. At the same time, Doris informs Vance. Markham begins his investigation of the murder by questioning Mrs. Llewellyn, who recalls having quarrelled with Virginia before she was poisoned, Amelia, Mrs. Llewellyn's daughter, who admits that she too had a spat with Virginia. Meanwhile, Doris finds Mrs. Llewellyn's altered will, in which she disinherited Kinkaid, making it apparent that Lynn and Amelia would be the only ones who would benefit from Mrs. Llewellyn's death. Other clues begin to surface, including Kinkaid's unusual collection of books on chemistry and poisons, a loaded gun found in Virginia's bedroom. Soon after Lynn's recovery, Mrs. Llewellyn is found dead of an apparent suicide, with a note, bearing her signature, in which she confesses to Virginia's murder.
Not convinced that the mystery has been solved, Vance pursues his theory, discovers a secret laboratory where Kinkaid has been making the newly discovered heavy water. Kincaid holds Vance and Doris captive at gunpoint. Still, Vance believes that Kinkaid is not the murderer, but is one of many decoys set up by the real killer to lead the investigation astray; the real killer turns out to be Lynn. He lures Doris to the Closter townhouse to kill them, but before Lynn completes his "perfect crime", Vance reads from a letter he wrote earlier in which he detailed his theory about the killings. In it, Vance names Lynn as the murderer, calling him a rich, egomaniacal weakling, being tired of his wife, poisoned her and threw the blame on his uncle, whom he despised. After hearing Vance's summary of the murder plot, Lynn tells his captors that he has arranged to pin Vance and Doris' forthcoming murder on Kinkaid. However, when Lynn shoots Vance and others emerge from behind a door where they have been recording Lynn's confession and arrest him.
After thanking Mrs. Llewellyn's maid Becky for loading Lynn's gun with blanks, Vance resumes his romance with Doris. Cast notes: Rosalind Russell considered both the film and her performance in it to be "so bad", she wrote in her autobiography, Life is a Banquet, that MGM forced the role on her, that afterwards, her maid would tell her: "If you don't behave... I'm going to tell people about that Casino Murder Case." William Powell and Myrna Loy were intended to star in The Casino Murder Case, but Powell was tired of playing Vance – he was the first actor to play the part on film, had played in the part in five earlier films – so MGM planned to use Otto Kruger, Fred Keating, Warren William, Ricardo Cortez, before settling on Paul Lukas. Eugene Pallette was to have played the police sergeant, but was first replaced by Edward Brophy, Ted Healey. Constance Collier was to have played "Mrs. Llewellyn", before Alison Skipworth was borrowed from Paramount Pictures for the role. Andre Sennwald in the New York Times wrote, "Paul Lukas just isn't the Philo Vance type and his reticent drawing-room manner seems a feeble substitute for the dashing qualities which made William Powell the best of the cinema Philos.
Rosalind Russell works hard at being agreeable in the Myrna Loy style, but with no vast success. Miss Skipworth, of course, is characteristically excellent as the foolish dowager, there are good performances by Arthur Byron as the chief suspect and the comical Ted Healy as the halfwit detective; the best work in the film, though, is contributed by Isabel Jewell as the morbid and dipsomaniac daughter of the house."More Turner Classic Movies called the film "a diverting series entry, faithful to Van Dine's original story," while Allmovie agreed that Paul Lukas "is not the right type for the part" and that "it is because of Lukas that the film is not one of the better entries in the series." The review characterizes the work of Alison Skipworth and Isabel Jewell as "excellent" and Eric Blore and Charles Sellon as "strong" performances, but says that Rosalind Russell "hasn't quite yet hit her stride here." As a result, the mix of comedy and mystery in the film "isn't as smooth as one might wish."
The Casino Murder Case
Peter Lorre was a Hungarian-born American character actor of Jewish descent. Lorre began his stage career in Vienna before moving to Germany where he worked first on the stage in film in Berlin in the late 1920s and early 1930s. Lorre caused an international sensation in the German film M, directed by Fritz Lang, in which he portrayed a serial killer who preys on little girls. Lorre left Germany, his first English-language film was Alfred Hitchcock's The Man Who Knew Too Much made in Great Britain. Settling in Hollywood, he became a featured player in many Hollywood crime and mystery films. In his initial American films, Mad Love and Crime and Punishment, he continued to play murderers, but he was cast playing Mr. Moto, the Japanese detective, in a B-picture series. From 1941 to 1946, he worked for Warner Bros, his first film at Warner was The Maltese Falcon, which began a sequence in which he appeared with Humphrey Bogart and Sydney Greenstreet. This was followed by Casablanca, the second of the nine films in which Lorre and Greenstreet appeared together.
Lorre's other films include Frank Capra's Arsenic and Old Lace and Disney's 20,000 Leagues Under the Sea. Typecast as a sinister foreigner, his career was erratic. Lorre was the first actor to play a James Bond villain as Le Chiffre in a TV version of Casino Royale; some of his last roles were in horror films directed by Roger Corman. Lorre was born László Löwenstein on 26 June 1904, the first child of Alajos Löwenstein and his wife Elvira Freischberger, in the Hungarian town of Rózsahegy in Liptó County, his parents, who were Jewish, had only moved there following his father's appointment as chief bookkeeper at a local textile mill. Alajos served as a lieutenant in the Austrian Army Reserve, which meant that he was away on military maneuvers. László's mother died when he was only four years old, leaving Alajos with three young sons, the youngest several months old, he soon married his wife's best friend Melanie Klein. However and his stepmother never got along, this colored his childhood memories.
At the outbreak of the Second Balkan War in 1913, anticipating that this would lead to a larger conflict and that he would be called up, Alajos moved the family to Vienna. He served on the Eastern Front during the winter of 1914–1915, before being put in charge of a prison camp due to heart trouble. Lorre began acting on stage in Vienna aged 17, where he worked with Viennese Art Nouveau artist and puppeteer Richard Teschner, he moved to the German city of Breslau, to Zürich. In the late 1920s, the actor moved to Berlin, where he worked with German playwright Bertolt Brecht, including a role in Brecht's Mann ist Mann and as Dr. Nakamura in the musical Happy End; the actor became much better known after director Fritz Lang cast him as child killer Hans Beckert in M, a film reputedly derived from the Peter Kürten case. Lang said that he had Lorre in mind while working on the script and did not give him a screen test because he was convinced that Lorre was perfect for the part; the director said that the actor gave his best performance in M and that it was among the most distinguished in film history.
Sharon Packer observed that Lorre played the "loner, schizotypal murderer" with "raspy voice, bulging eyes, emotive acting always make him memorable." In 1932, Lorre appeared alongside Hans Albers in the science fiction film F. P.1 antwortet nicht about an artificial island in the mid-Atlantic. When the Nazis came to power in Germany in 1933, Lorre took refuge first in Paris and London, where he was noticed by Ivor Montagu, associate producer for The Man Who Knew Too Much, who reminded the film's director, Alfred Hitchcock, about Lorre's performance in M, they first considered him to play the assassin in the film, but wanted to use him in a larger role despite his limited command of English at the time, which Lorre overcame by learning much of his part phonetically. Michael Newton wrote in an article for The Guardian in September 2014 of his scenes with Leslie Banks in the film: "Lorre cannot help but steal each scene. After his first two American films, Lorre returned to England to feature in Hitchcock's Secret Agent.
Lorre and his first wife, actress Celia Lovsky, boarded a Cunard liner in Southampton on 18 July 1934 to sail for New York a day after shooting had been completed on The Man Who Knew Too Much, having gained visitor's visas to the United States. Lorre settled in Hollywood and was soon under contract to Columbia Pictures, which had difficulty finding parts suitable for him. After some months employed for research, Lorre decided that Crime and Punishment, the 1866 Russian novel by Fyodor Dostoyevsky, would be a suitable project with himself in the central role. Columbia's head Harry Cohn agreed to make the film adaptation on the condition that he could lend Lorre to Metro-Goldwyn-Mayer as a means of recouping the cost of Lorre not appearing in any of his films. For MGM's Mad Love, set in Paris and directed by Karl Freund, Lorre's head was shaved for the role of Dr. Gogol, a demented surgeon. In the film, Gogol replaces the wrecked hands of a concert pianist with those of an executed knife throwing murderer.
An actress who works at the nearby Grand Guignol theater, who happens to be the pianist's wife, is the subject of Gogol's u
Marion Mitchell Morrison, known professionally as John Wayne and nicknamed'Duke', was an American actor and Presidential Medal of Freedom recipient. He was among the top box office draws for three decades. Wayne grew up in Southern California, he was president of Glendale High School class of 1925. He found work at local film studios when he lost his football scholarship to the University of Southern California as a result of a bodysurfing accident working for the Fox Film Corporation, he appeared in bit parts, but his first leading role came in Raoul Walsh's Western The Big Trail, an early widescreen film epic, a box-office failure. Only leading roles in numerous B movies followed during the 1930s, most of them Westerns. Wayne's career was rejuvenated, he starred in 142 motion pictures altogether, including the dozens with his name above the title produced before 1939. According to one biographer, "John Wayne personified for millions the nation's frontier heritage. Eighty-three of his movies were Westerns, in them he played cowboys and unconquerable loners extracted from the Republic's central creation myth."Wayne's other roles in Westerns include a cattleman driving his herd on the Chisholm Trail in Red River, a Civil War veteran whose niece is abducted by a tribe of Comanches in The Searchers, a troubled rancher competing with a lawyer for a woman's hand in marriage in The Man Who Shot Liberty Valance, a cantankerous one-eyed marshal in True Grit.
He is remembered for his roles in The Quiet Man, Rio Bravo with Dean Martin, The Longest Day. In his final screen performance, he starred as an aging gunfighter battling cancer in The Shootist, he appeared with many important Hollywood stars of his era, made his last public appearance at the Academy Awards ceremony on April 9, 1979. Wayne was born Marion Robert Morrison on May 1907 at 224 South Second Street in Winterset, Iowa; the local paper, Winterset Madisonian, reported on page 4 of the edition of May 30, 1907 that Wayne weighed 13 lbs. at birth. His middle name was soon changed from Robert to Mitchell when his parents decided to name their next son Robert. Wayne's father, Clyde Leonard Morrison, was the son of American Civil War veteran Marion Mitchell Morrison. Wayne's mother, the former Mary "Molly" Alberta Brown, was from Nebraska. Wayne's ancestry included English and Irish, he was raised Presbyterian. Wayne's family moved to Palmdale, in 1916 to Glendale at 404 Isabel Street, where his father worked as a pharmacist.
He attended Glendale Union High School where he performed well in academics. Wayne was part of its debating team, he was the president of the Latin Society and contributed to the school's newspaper sports column. A local fireman at the station on his route to school in Glendale started calling him "Little Duke" because he never went anywhere without his huge Airedale Terrier, Duke, he preferred "Duke" to "Marion", the nickname stuck. Wayne attended Wilson Middle School in Glendale; as a teen, he worked in an ice cream shop for a man. He was active as a member of the Order of DeMolay, he played football for the 1924 league champion Glendale High School team. Wayne applied to the U. S. Naval was not accepted. Instead, he attended the University of Southern California, he was a member of the Trojan Knights and Sigma Chi fraternities. Wayne played on the USC football team under coach Howard Jones. A broken collarbone injury curtailed his athletic career, he lost his athletic scholarship, without funds, had to leave the university.
As a favor to USC football coach Howard Jones, who had given silent western film star Tom Mix tickets to USC games, director John Ford and Mix hired Wayne as a prop boy and extra. Wayne credited his walk and persona to his acquaintance with Wyatt Earp, good friends with Tom Mix. Wayne soon moved to bit parts, establishing a longtime friendship with the director who provided most of those roles, John Ford. Early in this period he had a minor, uncredited role as a guard in the 1926 film Bardelys the Magnificent. Wayne appeared with his USC teammates playing football in Brown of Harvard, The Dropkick, Salute and Columbia's Maker of Men. While working for Fox Film Corporation in bit roles, Wayne was given on-screen credit as "Duke Morrison" only once, in Words and Music. Director Raoul Walsh saw him moving studio furniture while working as a prop boy and cast him in his first starring role in The Big Trail. For his screen name, Walsh suggested "Anthony Wayne", after Revolutionary War general "Mad" Anthony Wayne.
Fox Studios chief Winfield Sheehan rejected it as sounding "too Italian". Walsh suggested "John Wayne". Sheehan agreed, the name was set. Wayne was not present for the discussion, his pay was raised to $105 a week. The Big Trail was to be the first big-budget outdoor spectacle of the sound era, made at a then-staggering cost of over $2 million, using hundreds of extras and wide vistas of the American southwest, still unpopulated at the time. To take advantage of the breathtaking scenery, it was filmed in two versions, a standard 35 mm version and another in the new 70 mm Grandeur film p
Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit
Eddie Cantor was an American "illustrated song" performer, dancer, singer and songwriter. Familiar to Broadway, radio and early television audiences, this "Apostle of Pep" was regarded as a family member by millions because his top-rated radio shows revealed intimate stories and amusing anecdotes about his wife Ida and five daughters; some of his hits include "Makin' Whoopee", "Ida", "If You Knew Susie", "Ma! He's Makin' Eyes at Me", "Baby", "Margie", "How Ya Gonna Keep'em Down on the Farm?" He wrote a few songs, including "Merrily We Roll Along", the Merrie Melodies Warner Bros. cartoon theme. His eye-rolling song-and-dance routines led to his nickname, "Banjo Eyes". In 1933, artist Frederick J. Garner caricatured Cantor with large round eyes resembling the drum-like pot of a banjo. Cantor's eyes became his trademark exaggerated in illustrations, leading to his appearance on Broadway in the musical Banjo Eyes, his charity and humanitarian work was extensive, he is credited with coining the phrase, helping to develop the March of Dimes.
He was awarded an honorary Oscar in 1956 for distinguished service to the film industry. Cantor was born in 1892 in New York City, the son of Russian-Jewish immigrants and Mechel Itzkowitz; the precise date of his birth is unknown. His mother died in childbirth, his father died of pneumonia when Eddie was two, leaving him to be raised by his grandmother, Esther Kantrowitz; as a child, he attended Surprise Lake Camp. and he generously financially supported that camp for others. A misunderstanding when his grandmother signed him into school gave him her last name of Kantrowitz. Esther died on January 29, 1917, two days before Cantor signed a long-term contract with Florenz Ziegfeld, Jr. to appear in his Follies. Cantor had adopted the first name "Eddie" when he met his future wife Ida Tobias in 1913, because she felt that "Izzy" was not the right name for an actor. Cantor and Ida were married in 1914, they had five daughters, Natalie, Edna and Janet, who provided comic fodder for Cantor's longtime running gag on radio, about his five unmarriageable daughters.
Several radio historians, including Gerald Nachman, have said that this gag did not always sit well with the girls. Natalie's second husband was the actor Robert Janet married the actor Roberto Gari. Cantor was the second president of the Screen Actors Guild, serving from 1933 to 1935, he invented the title "The March of Dimes" for the donation campaigns of the National Foundation for Infantile Paralysis, organized to combat polio. It was a play on The March of Time newsreels popular at the time, he began the first campaign on his radio show in January 1938, asking listeners to mail a dime to President Franklin D. Roosevelt. At that time, Roosevelt was the most notable American victim of polio. Other entertainers joined in the appeal via their own shows, the White House mail room was deluged with 2,680,000 dimes—a large sum at the time. Following the death of their daughter Marjorie at the age of 44, both Eddie and Ida's health declined rapidly. Ida died on August 9, 1962 at age 70 of "cardiac insufficiency", Eddie died on October 10, 1964, in Beverly Hills, after suffering his second heart attack at age 72.
He is interred in Hillside Memorial Park Cemetery in California. By his early teens, Cantor began winning talent contests at local theaters and started appearing on stage. One of his earliest paying jobs was doubling as a waiter and performer, singing for tips at Carey Walsh's Coney Island saloon, where a young Jimmy Durante accompanied him on piano, he made his first public appearance in Vaudeville in 1907 at New York's Clinton Music Hall. In 1912, he was the only performer over the age of 20 to appear in Gus Edwards's Kid Kabaret, where he created his first blackface character, "Jefferson", he toured with Al Lee as the team "Cantor and Lee". Critical praise from that show got the attention of Broadway's top producer, Florenz Ziegfeld, who gave Cantor a spot in the Ziegfeld rooftop post-show, Midnight Frolic. A year Cantor made his Broadway debut in the Ziegfeld Follies of 1917, he continued in the Follies until 1927, a period considered the best years of the long-running revue. For several years, Cantor co-starred in an act with pioneer comedian Bert Williams, both appearing in blackface.
Other co-stars with Cantor during his time in the Follies included Will Rogers, Marilyn Miller, Fanny Brice, W. C. Fields, he moved on to stardom in book musicals, starting with Kid Boots and Whoopee!. On tour with Banjo Eyes, he romanced the unknown Jacqueline Susann, who had a small part in the show, went on to become the best-selling author of Valley of the Dolls. Ziegfeld Follies of 1917 – revue – performer Ziegfeld Follies of 1918 – revue – performer, co-composer and co-lyricist for "Broadway's Not a Bad Place After All" with Harry Ruby Ziegfeld Follies of 1919 – revue – performer, lyricist for " Last Rose of Summer" Ziegfeld Follies of 1920 – revue – composer for "Green River", composer and lyricist for "Every Blossom I See Reminds Me of You" and "I Found a Baby on My Door Step" The Midnight Rounders of 1920 – revue – performer Broadway Brevities of 1920 – revue – performer Make It Snappy – revue – performer, co-bookwriter Ziegfeld Follies of 1923 – revue – sketch writer Kid Boots – musical comedy – actor in the role of "Kid Boots" Ziegfeld Follies of 1927 – revue – performer, co-bookwriter Whoopee!
– musical comedy – actor in the role o