Ben Casey is an American medical drama series that aired on ABC from 1961 to 1966. The show was known for its opening titles, which consisted of a hand drawing the symbols "♂, ♀, ✳, †, ∞" on a chalkboard, as cast member Sam Jaffe uttered, "Man, birth, infinity." Neurosurgeon Joseph Ransohoff served as a medical consultant for the show. The series stars Vince Edwards as medical doctor Ben Casey, the young, intense but idealistic neurosurgeon at County General Hospital, his mentor is chief of neurosurgery Doctor David Zorba, played by Sam Jaffe, who, in the pilot episode, tells a colleague that Casey is "the best chief resident this place has known in 20 years." In its first season, the series and Vince Edwards were nominated for Emmy awards. Additional nominations at the 14th Primetime Emmy Awards on May 22, 1962, went to Sam Jaffe, Jeanne Cooper, Joan Hackett; the show began running multi-episode stories, starting with the first five episodes of season four. At the beginning of season five, Jaffe left the show and Franchot Tone replaced Zorba as new chief of neurosurgery, Doctor Daniel Niles Freeland.
Vince Edwards as Dr. Ben Casey Sam Jaffe as Dr. David Zorba Harry Landers as Dr. Ted Hoffman Bettye Ackerman as Dr. Maggie Graham Nick Dennis as Orderly Nick Kanavaras Jeanne Bates as Nurse Wills Franchot Tone as Dr. Daniel Niles Freeland Creator James E. Moser based the character of Ben Casey on Dr. Allan Max Warner, a neurosurgeon whom Moser met while researching Ben Casey. Warner served as the program's original technical advisor in 1961, he worked with the actors, showing them how to handle medical instruments, according to an article in TV Guide. Ben Casey had several directors, including Sydney Pollack, its theme music was written by David Raksin. Filmed at the Desilu Studios, the series was produced by Bing Crosby Productions. Vince Edwards appeared on the television series Breaking Point as Ben Casey; the episode was "Solo for B-Flat Clarinet" and debuted 16 September 1963. Both Ben Casey and Breaking Point were produced by Bing Crosby Productions. Members of Breaking Point had guest roles on Ben Casey.
Original runThe. Monday at 10–11 p.m. on ABC: October 2, 1961 — May 13, 1963. In the 1962–1963 season, it swamped Loretta Young's return to weekly television in her family sitcom The New Loretta Young Show on CBS. In 1963, it moved to Wednesdays as the preceding program for ABC's drama about college life, Channing. However, due to the combination of CBS' The Beverly Hillbillies and The Dick Van Dyke Show, Ben Casey returned to its original Monday-night time slot in the fall of 1964, remaining there until its cancellation in March 1966. Daytime repeats of the series aired on ABC's weekday schedule from 1965 through 1967. Nielsen ratingsNOTE: The highest average rating for the series is in bold text. Both a comic strip and a comic book were based on the television series; the strip was drawn by Neal Adams. The daily comic strip began on November 26, 1962, the Sunday strip debuted on September 20, 1964. Both ended on July 31, 1966; the daily strip was reprinted in The Menomonee Falls Gazette. The comic book was published by Dell Comics for 10 issues from 1962 to 1964.
All had photo covers, except for that of the final issue, drawn by John Tartaglione. From 1962 through 1963, the paperback publisher Lancer Books issued four original novels based on the series, they were Ben Casey by William Johnston, A Rage for Justice by Norman Daniels, The Strength of His Hands by Sam Elkin, The Fire Within, again by Daniels, small-print standard mass-market size paperbacks of 128 or 144 pages each. The covers of the books featured photographs of Edwards as Casey, or in the case of the last novel, a drawing of a doctor with Edwards' appearance. In 1988, the made-for-TV-movie The Return of Ben Casey, with Vince Edwards reprising his role as Casey, aired in syndication. Harry Landers was the only other original cast member; the film was directed by Joseph L. Scanlan; the pilot was not picked up by the major networks to bring the series back. In 1962, the series inspired a semicomic rock song, "Callin' Dr. Casey", written and performed by songwriter John D. Loudermilk. In the song, Loudermilk refers to the TV doctor's wide-ranging medical abilities and asks whether Casey has any cure for heartbreak.
The song reached number 83 on the Billboard Hot 100 chart. During the Vietnam War, the term "Ben Casey" was used by American troops as slang for a medic; the long-running Cleveland, late-night movie program The Hoolihan and Big Chuck Show and its successor program, The Big Chuck and Lil' John Show aired comedy skits under the title "Ben Crazy" that parodied Ben Casey. The skits opened with a spoof of the chalkboard sequence, adding one more symbol at the end — a dollar sign, accompanied by a laugh track. "Big Chuck" Schodowski, one of the hosts of the show, said that the skits continued to air for so many years after the 1966 cancellation of Ben Casey that younger viewers did not recognize the opening, that real-life doctors would send in ideas for skits, some
Man in the Dark
Man in the Dark is a 1953 film noir drama 3-D film directed by Lew Landers and starring Edmond O'Brien, Audrey Totter and Ted de Corsia. It is a remake of the 1936 Ralph Bellamy film The Man, it was the first Columbia Pictures film released in 3-D. Steve Rawley is serving a 10-year prison sentence for a Christmas Eve factory robbery that netted $130,000 which he hid somewhere, he agrees to experimental brain surgery, meant to remove the'criminal element' from him. He is paroled into the custody of Dr. Marsden. Insurance investigator Jawald, having learned about this situation from a police acquaintance, visits Marsden. Jawald is determined to find out from Steve where the money is hidden, but the doctor informs him that, if the surgery is successful, Steve will have amnesia. After a polygraph and other tests, Marsden is convinced. Steve's release is imminent, but members of his old gang - Lefty and Cookie - show up at the facility and kidnap him. Steve claims not to recognize any of them. Two investigators assigned by Jawald to secretly keep an eye on Steve give chase.
The gang eludes them and take Steve to an apartment where Peg, said to be his girlfriend, greets him. The men intend to make Steve tell them where the money is, Peg believes he is faking his memory loss, she grows angry at him and storms out. While his three captors play cards, Steve attempts phoning for help, but the men catch him and rough him up. Cookie tries to spark Steve's memory by telling him about the robbery; the men are certain this proves Steve hid the money at home when he went to change before trying to flee police. They go to his old house, boarded up. Steve finds a piece of paper with the number 1133 written on it, though he cannot remember writing this number down. Lefty forces Steve to write the numbers again and, while the three compare the handwriting, he tries to escape, they beat him up and take him back to the apartment. Peg returns, not knowing she is being followed by Jawald who, now that he has found where Steve is, assigns a colleague to watch the building. Peg begins to believe.
She takes care of him. Lefty informs him he has one hour left to reveal the location of the money. Steve and Peg do leave the apartment through that door, they go to the post office, thinking that the number 1133 might denote a box there. Remembering the dream, Steve decides. There, it becomes apparent the paper with the number on it is a ticket from the concession at which people leave their packages while attending the park, it has been a year since Steve checked his package in, so the pair who run the concession tell him it would have long ago been thrown away. He asks to look in back for himself and he finds the box, ostensibly candy he had won at a game in the park, with the money inside. At this point, Peg tells Steve that if he intends to keep the money, she does not want to be with him. Steve sees. Atop a roller coaster, Steve fights Lefty. Jawald has arrived with the police. Arnie is arrested. After considering taking off with the money on his own, he chooses to hand it over, in hopes that he and Peg will be able to be together and live a normal life.
Edmond O'Brien as Steve Rawley Audrey Totter as Peg Benedict Ted de Corsia as Lefty Horace McMahon as Arnie Nick Dennis as Cookie Dayton Lummis as Dr. Marston Dan Riss as Jawald The unexpected success of the previous year's Bwana Devil in 3-D sparked other studios to release their own 3-D films. Columbia Pictures completed it in 11 days. Although Warner Brothers touted House of Wax as "the first feature produced by a major studio in 3-D", Man in the Dark premiered two days earlier; the amusement park setting was filmed at Ocean Park in Santa Monica. When the film was released, Bosley Crowther, film critic for The New York Times, panned the film, he wrote, "Columbia's first stereoscopic film—a conspicuously low-grade melodrama... called Man in the Dark... must be viewed through polaroid glasses to be seen for any effect whatsoever, is a unspectacular affair."More critic Elliott Stein, writing for The Village Voice, discussed the effects used in the film: "This seems to be the 3-D flick that most exploits the short-lived medium.
An endless array of stuff comes whiffling at your face—a lit cigar, a repulsive spider, forceps, falling bodies, a roller coaster. The prolific Landers may not have been a great director, but he was a pretty good pitcher." Man in the Dark at the American Film Institute Catalog Man in the Dark on IMDb Man in the Dark at AllMovie Man in the Dark at the TCM Movie Database
Eight Iron Men
Eight Iron Men is a 1952 American World War II drama film directed by Edward Dmytryk and produced by Stanley Kramer. It stars Arthur Franz, Lee Marvin and Richard Kiley; the screenplay by Harry Brown was based on his 1945 play A Sound of Hunting, which had featured Burt Lancaster during its short run on Broadway. Three American infantrymen—Carter and Small —are returning from patrol in a bombed-out town when they are pinned down by an enemy machine gun. Meanwhile, separated from the patrol, returns on his own to the squad's basement outpost where goof-off Private Collucci is sleeping, dreaming of beautiful women. A runner from company headquarters delivers a package for a squad member and tells the men that the regiment is moving out of the line that night. Shortly after another patrol returns with Sgt. Mooney and privates Sapiros and Muller. Muller finds a fruitcake, which he divides eight ways. Carter and Ferguson manage to get back, but the clumsy Small has been left behind, trapped in a shell hole by the machine gun fire.
Sgt. Mooney wants to send out a rescue party, persuades his platoon leader Lt. Crane to take the request to Capt. Trelawny, their company commander. A sniper kills Crane. Mooney goes to Trelawny but the captain orders Mooney not to attempt a rescue, saying that while he doesn't want to leave Small, he doesn't want to lose men on what seems to be a "wild-goose chase." The men debate the pros and cons of going after Small while Collucci tries to persuade Muller to let him eat Small's piece of fruitcake. A runner alerts the squad that the company is pulling out in half an hour but another burst of machine gun fire galvanizes Mooney, he disobeys orders and with Coke, a mortar, goes for Small. The mortar fire fails to silence the gun, however. Trelawny hears the exploding shells and angrily heads to the squad's outpost where he confronts Carter for not stopping Mooney. Collucci goes out while the two argue, but Carter persuades the captain to overlook the disobedience. Mooney returns saying they couldn't get close, but if Small had still been alive, he would have made a break for it during the mortar fire.
When Collucci is nearly shot by the sniper and returns fire, the squad realizes that he has gone alone to retrieve Small. Using a destroyed tank as cover to get close, he tosses grenades. Collucci returns, it turns out that Small sprained his ankle, injected himself with morphine, slept through the whole ordeal. As all eight men leave their former home, Collucci eats the last piece of fruitcake. Bonar Colleano as Pvt. Collucci Arthur Franz as Carter Lee Marvin as Sgt. Joe Mooney Richard Kiley as Pvt. Coke Nick Dennis as Pvt. Sapiros James Griffith as Pvt. Ferguson Dickie Moore as Pvt. Muller George Cooper as Pvt. Small Barney Phillips as Captain Trelawny Robert Nichols as Walsh Richard Grayson as Lieutenant Crane Douglas Henderson as Hunter Mary Castle as Girl Angela Stevens as Girl in Daydream Kathleen O'Malley as Girl in Daydream Sue Casey as Girl in Daydream Eight Iron Men on IMDb Eight Iron Men at the TCM Movie Database Eight Iron Men at AllMovie Eight Iron Men at the American Film Institute Catalog
A Streetcar Named Desire
A Streetcar Named Desire is a play written by Tennessee Williams that opened on Broadway on December 3, 1947. The play dramatises the life of Blanche DuBois, a southern belle who, after encountering a series of personal losses, leaves her aristocratic background seeking refuge with her sister and brother-in-law in a dilapidated New Orleans tenement. A Streetcar Named Desire is Williams' most popular play, is considered among the finest plays of the 20th century, is considered by many to be Williams' greatest work, it still ranks among his most performed plays, has inspired many adaptations in other forms, notably producing a critically acclaimed film, released in 1951. After the loss of her family home, Belle Reve, to creditors, Blanche DuBois travels from the small town of Laurel, Mississippi, to the New Orleans French Quarter to live with her younger, married sister and brother-in-law, Stanley Kowalski. Blanche is in her thirties and, with no money, has nowhere else to go. Blanche tells Stella that she has taken a leave of absence from her English-teaching position because of her nerves.
Blanche laments the shabbiness of her sister's two-room flat. She finds Stanley loud and rough referring to him as "common". Stanley, in return, does not dislikes her presence. Stanley questions Blanche about her earlier marriage. Blanche had married when she was young, but her husband died, leaving her widowed and alone; the memory of her dead husband causes Blanche some obvious distress. Stanley, worried that he has been cheated out of an inheritance, demands to know what happened to Belle Reve, once a large plantation and the DuBois family home. Blanche hands over all the documents pertaining to Belle Reve. While looking at the papers, Stanley notices a bundle of letters that Blanche proclaims are personal love letters from her dead husband. For a moment, Stanley seems caught off guard over her proclaimed feelings. Afterwards, he informs Blanche; this can be seen as the start of Blanche's mental upheaval. The night after Blanche's arrival, during one of Stanley's poker parties, Blanche meets Mitch, one of Stanley's poker player buddies.
His courteous manner sets him apart from the other men. Their chat becomes flirtatious and friendly, Blanche charms him. Becoming upset over multiple interruptions, Stanley explodes in a drunken rage and strikes Stella. Blanche and Stella take refuge with Eunice; when Stanley recovers, he cries out from the courtyard below for Stella to come back by calling her name until she comes down and allows herself to be carried off to bed. After Stella returns to Stanley and Mitch sit at the bottom of the steps in the courtyard, where Mitch apologizes for Stanley's coarse behavior. Blanche is bewildered; the next morning, Blanche rushes to Stella and describes Stanley as a subhuman animal, though Stella assures Blanche that she and Stanley are fine. Stanley keeps silent; when Stanley comes in, Stella hugs and kisses him, letting Blanche know that her low opinion of Stanley does not matter. As the weeks pass, the friction between Blanche and Stanley continues to grow. Blanche has hope in Mitch, tells Stella that she wants to go away with him and not be anyone's problem.
During a meeting between the two, Blanche confesses to Mitch that once she was married to a young man, Allan Grey, whom she discovered in a sexual encounter with an older man. Grey committed suicide when Blanche told him she was disgusted with him; the story touches Mitch. It seems certain. On, Stanley repeats gossip to Stella that he has gathered on Blanche, telling her that Blanche was fired from her teaching job for involvement with an under-aged student and that she lived at a hotel known for prostitution. Stella erupts in anger over Stanley's cruelty after he states that he has told Mitch about the rumors, but the fight is cut short as she goes into labor and is sent to the hospital; as Blanche waits at home alone, Mitch arrives and confronts Blanche with the stories that Stanley has told him. At first she denies everything, but confesses that the stories are true, she pleads for forgiveness, but an angry and humiliated Mitch refuses her the chance at an honorable relationship and attempts to sexually assault her instead.
In response, Blanche screams "fire", he runs away in fright. Hours before Stella has the baby and Blanche are left alone in the apartment. Blanche has descended into a fantasy that an old suitor of hers is coming to provide financial support and take her away from New Orleans. Stanley goes along with the act before angrily scorning Blanche's lies and behavior, advances toward her. Stanley rapes Blanche, imminently resulting in her psychotic crisis. Weeks at another poker game at the Kowalski apartment and her neighbor, are packing Blanche's belongings. Blanche is to be committed to a mental hospital. Although Blanche has told Stella about Stanley's assault, Stella cannot bring herself to believe her sister's story; when a doctor and a matron arrive to take Blanche to the hospital, she resists them and collapses on the floor in confusion. Mitch, present at the poker game, breaks down in tears; when the doctor helps Blanche up, she goes willingly with him, saying: "Whoever you are, I have always depended on the kindness of strangers."
The play ends with Stanley continuing
Ten Tall Men
Ten Tall Men is a 1951 American Technicolor comedy adventure film about the French Foreign Legion during the Rif War in Morocco. It stars Jody Lawrance and Gerald Mohr. Though co-written and directed by Willis Goldbeck, Goldbeck walked off the film due to disputes with Lancaster with the film being completed by Robert Parrish. Credited as an associate producer, Robert Aldrich was a production manager on the film where he met Lancaster that led him to direct Vera Cruz for him. Robert Clary made his debut in the film as an Arab batman. Portions of the film were filmed in California; the story was released as a Fawcett Movie Comic #16 in April 1951. After capturing an important Rif prisoner in an undercover operation, Sergeant Mike Kincaid is imprisoned himself for striking a lieutenant who beats a French woman with his riding crop for preferring Kincaid to him. Kincaid has a longstanding rivalry with the lieutenant, but the lieutenant is now in command of the company holding the city of Tarfa while the regiment is away.
As the ranking officer, the lieutenant uses Kincaid's striking of him to get his revenge. Kincaid is imprisoned alongside seven military prisoners and the captured Rif who has refused to talk, with the lieutenant refusing food and water to both Kincaid and the Rif; when his two comrades-in-arms who accompanied him on the mission, Corporals Luis Delgado and Pierre Molier, sneak food and water to Kincaid, he shares them with the Rif. To repay Kincaid's kindness and assuage his own guilt for telling the lieutenant about Kincaid's assignation with the Frenchwoman, the tells of an impending attack on Tarfa while the garrison is weak; the Rif believes Kincaid will escape to save himself. The experienced Kincaid tells the lieutenant that their only chance is to release him to lead a series of guerrilla hit-and-run attacks to delay the enemy for five days until the regiment returns; the lieutenant agrees, but only. Kincaid agrees to his terms; the only men available for the mission are the seven prisoners, who receive full pardons for their crimes.
His two corporals join them. When scouting an enemy camp, the Legionnaires discover two rival tribes have joined forces, making them strong enough to take the city. Using his expertise in disguise and language, Kincaid finds out that the Rif leader, Khalid Hussein, is marrying Mahla in order to cement an alliance with the other tribe. Kincaid kidnaps her to force the enemy to chase him for the five days. Mahla begins to fall in love with her handsome captor, as Hussein pursues the Legionnaires across the desert. In the midst of the dangers, the patrol finds a destroyed Legion truck containing a safe that one of the men opens, revealing a large Legion payroll; when Jardine tries to get away with the payroll, he is shot. Kincaid is captured and Mahla freed, she demands that Kincaid be released unharmed or she will not marry Hussein. Hussein reluctantly does so. Kincaid and his men infiltrate the wedding ceremony, fighting breaks out. Mahla's tribe switches sides, Hussein is killed. Burt Lancaster as Sergeant Mike Kincaid Jody Lawrance as Mahla Gilbert Roland as Corporal Luis Delgado Gerald Mohr as Khalif Hussein Kieron Moore as Corporal Pierre Molier George Tobias as Londos John Dehner as Jardine Nick Dennis as Mouse Mike Mazurki as Roshko Mari Blanchard as Marie DeLatour Robert Clary as Mossul Michael Pate as Browning The film was the first of a two picture deal Columbia Pictures signed with Norma Productions, the company of Burt Lancaster and Harold Hecht.
It was a Western story by James Warner Bellah and Willis Goldbeck which concerned conflict between the US cavalry and Apaches. Producer Harold Hecht and star Burt Lancaster decided that "John Ford and other Hollywood operators have so decimated the Apache population" so they hired writer A. I. Bezzerides to reimagine the story with a Foreign Legion setting. Roland Kibbee and Frank Davis were hired to rewrite the script to make it more comedic; the film was shot in February 1950 at the Columbia Ranch in the San Fernando Valley and on location in Yuma, Arizona. Ten Tall Men at the American Film Institute Catalog Ten Tall Men on IMDb Ten Tall Men at TCMDB
Greek Americans are Americans of full or partial Greek ancestry. About 1.3 million Americans are of Greek descent, although there are estimates that raise this number to 3 million, 321,144 people older than five spoke Greek at home in 2010. Greek Americans have the highest concentrations in the New York City and Chicago regions, but have settled in major metropolitan areas across the United States. In 2000, Tarpon Springs, Florida was home to the highest per capita representation of Greek Americans in the country; the United States is home to the largest Greek community outside of Greece, ahead of Australia, Albania, Canada and the United Kingdom. The first Greek known to have been to what is now the United States was Don Theodoro, a sailor who landed on Florida with the Narváez expedition in 1528, he died during the expedition. In 1592, Greek captain Juan de Fuca sailed up the Pacific coast under the Spanish flag, in search of the fabled Northwest Passage between the Pacific and the Atlantic.
He reported discovering a body of water, a strait which today bears his name: the Strait of Juan de Fuca, which today forms part of the Canada–United States border. About 500 Greeks from Smyrna and Mani settled in New Smyrna Beach, Florida in 1768; the colony was unsuccessful, the settlers moved to St. Augustine in 1776; the St Photios Greek Chapel exists as a remnant of their presence, is believed to be the oldest still standing Greek Orthodox religious structure in the United States. The first significant Greek community to develop was in Louisiana during the 1850s. By 1866, the community was numerous and prosperous enough to have a Greek consulate and the first official Greek Orthodox Church in the United States. During that period, most Greek immigrants to the New World came from Asia Minor and those Aegean Islands still under Ottoman rule. By 1890, there were 15,000 Greeks living in the U. S. Immigration picked up again in the 1890s and early 20th century, due to economic opportunity in the U.
S. displacement caused by the hardships of Ottoman rule, the Balkan Wars, World War I. Most of these immigrants had come from southern Greece from the Peloponnesian provinces of Laconia and Arcadia. 450,000 Greeks arrived to the States between 1890 and 1917, most working in the cities of the northeastern United States. Each wave of immigration contributed to the growth of Hellenism in the U. S. Greek immigration at this time was over 90% male, contrasted with most other European immigration to the U. S. such as Italian and Irish immigration, which averaged 50% to 60% male. Many Greek immigrants expected to work and return to their homeland after earning capital and dowries for their families. However, the loss of their homeland due to the Greek Genocide and the 1923 population exchange between Greece and Turkey, which displaced 1,500,000 Greeks from Anatolia, Eastern Thrace, Pontus caused the initial economic immigrants to reside permanently in America; the Greeks were de jure denaturalized from their homelands and lost the right to return, their families were made refugees.
Additionally, the first implemented U. S. immigration limits against non Western European immigrants were made in 1924, creating an impetus for immigrants to apply for citizenship, bring their families and permanently settle in the U. S. Fewer than 30,000 Greek immigrants arrived in the U. S. between 1925 and 1945, most of whom were "picture brides" for single Greek men and family members coming over to join relatives. The events of the early 1920s provided the stimulus for the first permanent national Greek American religious and civic organizations. Greeks again began to arrive in large numbers after 1945, fleeing the economic devastation caused by World War II and the Greek Civil War. From 1946 until 1982 211,000 Greeks emigrated to the United States; these immigrants were less influenced by the powerful assimilation pressures of the 1920s and 1930s and revitalized Greek American identity in areas such as Greek-language media. Greek immigrants founded more than 600 diners in the New York metropolitan area in the 1950s through the 1970s.
Immigration to the United States from Greece peaked between the 1950s and 1970. After the 1981 admission of Greece to the European Union, annual U. S. immigration numbers fell to less than 2,000. In recent years, Greek immigration to the United States has been minimal. Over 72,000 U. S. citizens live in Greece. The predominant religion among Greeks and Greek Americans is Greek Orthodox Christianity. There are a number of Americans who descend from Greece's smaller Sephardic and Romaniote Jewish communities. In the aftermath of the Greek financial crisis, there has been a resurgence of Greek emigration to New York City since 2010, accelerating in 2015, centered upon the traditional Greek enclave of Astoria, Queens. According to The New York Times, this new wave of Greek migration to New York is not being driven as much by opportunities in New York as it is by a lack of economic options in Greece itself. Population by state according to the 2011-2015 American Community Survey. New York – 148,637 California – 133,680 Illinois – 98,509 Florida – 90,347 Massachusetts – 83,701 New Jersey – 63,940 Pennsylvania – 62,167 Ohio – 54,614 Texas – 47,622 Michigan – 42,711 Maryland – 33,733 Virginia – 33,062 Connecticut – 30,304 North Carolina – 26,877 Washington – 25,665 Indiana – 23,993 Arizona – 21,742 Color
A Double Life (1947 film)
A Double Life is a 1947 film noir which tells the story of an actor whose mind becomes affected by the character he portrays. It stars Signe Hasso, it is directed by George Cukor, with screenplay by Garson Kanin. Ronald Colman won the Academy Award for Best Actor for his performance in this film. Celebrated stage actor Anthony "Tony" John, riding high on the success of his current comedy "A Gentleman's Gentleman," is offered the lead in a new production of Shakespeare's Othello by theatrical producer Max Lasker. Lasker wants Tony's ex-wife, Brita, to co-star as Desdemona. Tony declines the offer to the relief of director Victor Donlan, who knows Tony becomes overly involved in his roles. Brita agrees with Donlan and warns press agent Bill Friend that although Tony's mood is delightful when appearing in a comedy, he is terrifying when appearing in a drama. Tony changes his mind after becoming obsessed with the idea of portraying Othello. Tony meets waitress Pat Kroll at an Italian restaurant, the two soon begin an affair.
Brita reluctantly rehearsals begin. The production opens to rave reviews, but Tony becomes absorbed in his role and begins to hear voices. Tony sees jealousy as the key to his character. On the 300th performance of the play, during Othello's "kiss of death" scene with Desdemona, Tony nearly chokes Brita to death after Brita shows him a locket Bill gave her for her birthday; when the play begins its second year, Tony asks Brita to remarry him. Tony suspects. Enraged, Tony goes to Pat's apartment and kills her with Othello's "kiss of death." Tony falls asleep on her couch. The next day, reporter Al Cooley offers Bill front page publicity for Tony's play by pointing out the similarities between Pat's murder and Othello's "kiss of death." Tony is enraged when he sees the story, fights Bill. Bill suspects Tony is Pat's killer and goes to the police, only to find that Pat's drunken neighbor has been arrested for her murder. Tony demands Bill's dismissal, Bill plans a short vacation. Bill tells Brita he loves her.
However, Brita tells Bill. Bill hires an actress to dress up like Pat, wear Pat's earrings, plants her as a waitress in the restaurant where Pat worked. Bill invites Tony to the restaurant, with police captain Pete Bonner watching, Tony becomes distraught upon seeing Pat's "double" and rushes out of the restaurant. Bill and the police follow Tony to the theater. Upon the conclusion of the performance of Othello that evening, a guilt-ridden Tony stabs himself, confesses all and dies backstage. Julie Kirgo wrote that A Double Life is a picture of opposing forces, mirror images and deadly doubles: "Anthony John is at war with Othello, the elegant world of the theater is opposed to the squalid existence of Shelley Winters' Pat Kroll, illusion versus reality are all conveyed in opposing lights and darks of Krasner's luminous photography." When the film was released, The New York Times film critic Bosley Crowther wrote, "We have it on the good authority of Ruth Gordon and Garson Kanin, who should know—they being not only actors and playwrights but wife and spouse—that what seems a safe profession, acting, is as dangerous as they come and love between people of the theatre is an adventure fraught with infinite perils.
Is it risky when an actor takes his work and goes in for playing "Othello." Handkerchiefs and daggers rule his mind. At least, what is demonstrated in a rich, melodramatic way in the Kanin's own plushy production... George Cukor, in his direction, amply proves that he knows the theatre, its sights and sounds and brittle people."Critic Jerry Renshaw wrote, "A Double Life is an unusually intelligent, literate noir, a classy departure from the pulpy "B" atmospherics associated with the genre. Keep an eye out for Paddy Chayefsky and John Derek in minuscule bit parts." Academy Awards Best Actor in a Leading Role – Ronald Colman Best Music, Scoring of a Dramatic or Comedy Picture – Miklós Rózsa Best Director – George Cukor Best Writing, Original Screenplay – Garson Kanin and Ruth Gordon Golden Globes Best Actor – Motion Picture Drama – Ronald Colman Others The film is recognized by American Film Institute in these lists: 2005: AFI's 100 Years of Film Scores – Nominated Carnival Carnival A Double Life on IMDb A Double Life at AllMovie A Double Life at the TCM Movie Database A Double Life film clip on YouTube