Rita Hayworth was an American actress and dancer. She achieved fame during the 1940s as one of the era's top stars, appearing in a total of 61 films over 37 years; the press coined the term "The Love Goddess" to describe Hayworth after she had become the most glamorous screen idol of the 1940s. She was the top pin-up girl for GIs during World War II. Hayworth is best known for her performance in the 1946 film noir, opposite Glenn Ford, in which she played the femme fatale in her first major dramatic role. Fred Astaire, with whom she made two films, called her his favorite dance partner, her greatest success was with Gene Kelly. She is listed as one of the top 25 female motion picture stars of all time in the American Film Institute's survey, AFI's 100 Years...100 Stars. In 1980, Hayworth was diagnosed with Alzheimer's disease, which contributed to her death at age 68; the public disclosure and discussion of her illness drew attention to Alzheimer's, unknown by most people at the time, helped to increase public and private funding for Alzheimer's research.
Hayworth was born in Brooklyn, New York, in 1918 as Margarita Carmen Cansino, the oldest child of two dancers. Her father, Eduardo Cansino, was from a little town near Seville, Spain, her mother, Volga Hayworth, was an American of Irish-English descent who had performed with the Ziegfeld Follies. The couple married in 1917, they had two sons: Eduardo Jr. and Vernon. Her maternal uncle Vinton Hayworth was an actor. Hayworth's father sexually abused her starting at a young age. Margarita's father wanted her to become a professional dancer, while her mother hoped she would become an actress, her paternal grandfather, Antonio Cansino, was renowned as a classical Spanish dancer. He popularized the bolero, his dancing school in Madrid was world-famous. Hayworth recalled, "From the time I was three and a half... as soon as I could stand on my own feet, I was given dance lessons." She noted "I didn't like it much... but I didn't have the courage to tell my father, so I began taking the lessons. Rehearse, rehearse, my girlhood."She attended dance classes every day for a few years in a Carnegie Hall complex, where she was taught by her uncle Angel Cansino.
Before her fifth birthday she was one of the Four Cansinos featured in the Broadway production of The Greenwich Village Follies at the Winter Garden Theatre. In 1926 at the age of eight, she was featured in a short film for Warner Bros.. In 1927, her father took the family to Hollywood, he believed that his family could be part of it. He established his own dance studio, where he taught such stars as Jean Harlow. During the Great Depression, he lost all his investments as commercial interest in his dancing classes waned. In 1931, Eduardo Cansino partnered with his 12-year-old daughter to form an act called the Dancing Cansinos. Since under California law Margarita was too young to work in nightclubs and bars, her father took her with him to work across the border in Tijuana, Mexico. In the early 1930s, it was a popular tourist spot for people from Los Angeles. While in Tijuana, Hayworth's father continued to sexually abuse her, calling her his wife and dressing her up in "garish, sexy clothes".
Because she was working, Cansino never graduated from high school, but she completed the ninth grade at Hamilton High in Los Angeles. Cansino took a bit part in the film Cruz Diablo at age 16, which led to another bit part in the film In Caliente with the Mexican actress Dolores del Río, she danced with her father in such nightspots as the Caliente clubs. Winfield Sheehan, the head of the Fox Film Corporation, saw her dancing at the Caliente Club and arranged for Hayworth to do a screen test a week later. Impressed by her screen persona, Sheehan signed her for a short-term, six-month contract at Fox, under the name Rita Cansino, the first of two name changes during her film career. During her time at Fox, Hayworth was billed as Rita Cansino and appeared in unremarkable roles cast as the exotic foreigner. In late 1934, aged 16, she performed a dance sequence in the Spencer Tracy film Dante's Inferno, was put under contract in February 1935, she had her first speaking role as an Argentinian girl in Under the Pampas Moon.
She played an Egyptian girl in Charlie Chan in Egypt, a Russian dancer in Paddy O'Day. Sheehan was grooming her for the lead in the 1936 Technicolor film Ramona, hoping to establish her as Fox Film's new Dolores del Río. By the end of her six-month contract, Fox had merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive producer. Dismissing Sheehan's interest in her and giving Loretta Young the lead in Ramona, Zanuck did not renew Cansino's contract. Sensing her screen potential and promoter Edward C. Judson, with whom she would elope in 1937, got freelance work for her in several small-studio films and a part in the Columbia Pictures feature Meet Nero Wolfe. Studio head Harry Cohn tried her out in small roles. Cohn argued that her image was too Mediterranean, which limited her to being cast in "exotic" roles that were fewer in number, he was heard to say her last name sounded too Spanish. Judson acted on Cohn's advice: Rita Cansino became Rita Hayworth when she adopted her mother's maiden name, to the consternation of her father.
With a name that emphasized her British-American ancestry, people were more to regard her as a classic
The Music Box
The Music Box is a Laurel and Hardy short film comedy released in 1932. It was produced by Hal Roach and distributed by Metro-Goldwyn-Mayer; the film, which depicts the pair attempting to move a piano up a large flight of steps, won the first Academy Award for Best Live Action Short Film in 1932. In 1997, this film was selected for preservation in the National Film Registry by the Library of Congress as being "culturally or aesthetically significant". In a music store, a woman orders a player piano as a surprise birthday gift for her husband, she tells the manager her address — 1127 Walnut Avenue — and he hires the Laurel and Hardy Transfer Company to deliver the piano in their freight wagon. The duo soon learn from a postman that the home is at the top of a long stairway, their attempts to carry the piano up the stairs result in it rolling and crashing into the street below several times, twice with Ollie in tow. During their first attempt, they encounter a lady with a baby carriage trying to go down the steps.
After the lady laughs at them, Stan kicks her in her backside, causing her to punch him back and hit Ollie over the head with a milk bottle. Stan and Ollie heft the piano back up the stairs; the angry lady tells a policeman on the corner, who kicks Ollie twice and hits Stan with his truncheon after the latter suggests the officer is "bounding over his steps". Meanwhile, the piano has rolled down the steps again; the two doggedly persist in carrying the piano up the stairs for a third time. Halfway up, they encounter the short-tempered and pompous Professor Theodore von Schwartzenhoffen, M. D. A. D. D. D. S. F. L. D. F-F-F-and-F, he impatiently tells them to take the piano out of his way. Ollie reasonably and sensibly suggests he walk around, which sets off the Professor in a fit of Teutonic rage, he screams at Stan and Ollie to get the piano out of his way, Stan knocks the Professor's top hat down the stairs and into the street, where it is crushed by a passing vehicle. The outraged professor threatening to have the two arrested.
Stan and Ollie get the piano to the top, where Ollie falls into a fountain. As they ring the bell of 1127 Walnut Avenue, the piano rolls back down to the street again, they wearily drag it back up the stairs, meet the postman by the house, who informs them they did not have to lift the piano up the stairs. Stan and Ollie promptly carry the piano back down the stairs, put it back in their wagon and drive it up the hill to the house. Finding no one home, they succeed in getting the piano in the house, after dropping it into the fountain and falling in themselves, they make a shambles of the living room while unpacking it. Meanwhile, the owner of 1127 Walnut Avenue is revealed to be Professor von Schwartzenhoffen, who returns and is outraged at what he finds, as he hates pianos, he attacks the piano with an axe, destroying it, but regrets his actions when his wife returns home and tearfully tells her husband it had been a surprise birthday present. To apologize for his actions, the Professor signs the delivery receipt, but the pen Stan and Ollie give him squirts ink over his face.
Furious, Schwartzenhoffen makes the duo run away. Stan Laurel as Stan Oliver Hardy as OllieUncredited cast Billy Gilbert as Professor Theodore von Schwarzenhoffen, M. D. A. D. D. D. S. F. L. D. F-F-F-and-F Hazel Howell as Mrs. von Schwarzenhoffen Sam Lufkin as police officer Lilyan Irene as nursemaid Charlie Hall as postman William Gillespie as piano salesman The steps, which were the focal point of The Music Box, still exist in the Silver Lake district of Los Angeles, near the Laurel and Hardy Park. The steps are a public staircase that connects Vendome Street with Descanso Drive, are located at 923-925 N Vendome Street near the intersection of Del Monte Street. A plaque commemorating the film was set into one of the lower steps in the 1990s at 34°4′59″N 118°16′30.50″W. The steps can be seen in the Charley Chase silent comedy, Isn't Life Terrible?, during a scene in which Chase is trying to sell fountain pens to Fay Wray. The steps are used, for a gag similar to Hats Off and The Music Box, in Ice Cold Cocos, a Billy Bevan comedy short directed by Del Lord.
The steps are referenced in The Laurel and Hardy Love Affair, a short story by Ray Bradbury, as the meeting place of the couple in the story, who call each other Ollie and Stan in homage to the comedic duo. Contrary to popular belief, the long staircase is not the same one used by The Three Stooges in their 1941 film An Ache in Every Stake; those stairs are two miles northeast, located at 2212 Edendale Place in the Silver Lake district of Los Angeles. The film is a partial remake of their silent short Hats Off, filmed at the same location and is today considered a lost film. Hats Off was itself remade by Edgar Kennedy in 1945 as It's Your Move, but utilizing a different staircase although located in the same vicinity where the "Music Box Steps" are in Silver Lake. Hal Roach Studios colorized The Music Box in 1986 with a remastered stereo soundtrack featuring the Hal Roach Studios incidental stock music score conducted by Ronnie Ha
Aubrey Mather was an English character actor. Mather was born in Minchinhampton and began his career on the stage in 1905, he debuted in London in Brewster's Millions in 1909 and on Broadway ten years in Luck of the Navy. He branched out to films, starting with Young Woodley in 1930, he played butlers. In the 1932 film The Impassive Footman he played the eponymous footman, he died in Harrow, aged 72. Aubrey Mather on IMDb Aubrey Mather at the Internet Broadway Database
Justin Brooks Atkinson was an American theatre critic. He worked for The New York Times from 1925 to 1960. In his obituary, the Times called him "the theater's most influential reviewer of his time." A war correspondent during World War II, he received the Pulitzer Prize in 1947 for his work as the Moscow correspondent for the Times. Atkinson was born in Melrose, Massachusetts to Jonathan H. Atkinson, a salesman statistician and Garafelia Taylor; as a boy, he printed his own newspaper, planned a career in journalism. He attended Harvard University, he graduated from Harvard in 1917, worked at the Springfield Daily News and the Boston Evening Transcript, where he was assistant to the drama critic. In 1922, he became the editor of the New York Times Book Review, in 1925 the drama critic. Atkinson married Oriana MacIlveen, a writer, in August 1926. On the drama desk, Atkinson became known for his commitment to new kinds of theater—he was one of the first critical admirers of Eugene O'Neill—for his interest in all kinds of drama, including off-Broadway productions.
In 1928, he said of the new play The Front Page, "No one who has ground his heels in the grime of a police headquarters press room will complain that this argot misrepresents the gentlemen of the press." In 1932 Atkinson dropped the J. from his bi-line and embraced the witty, direct writing style that became his hallmark. His reviews were reputed to have the power to make or break a new stage production: for example, his panning in 1940 of Lawrence Riley's Return Engagement led to that comedy's closure after only eight performances, this despite the fact that Riley's previous comedy, Personal Appearance, had lasted for over 500 performances on Broadway. Atkinson, dubbed "the conscience of the theater," was not comfortable with the influence he wielded over the Broadway box office. After the bombing of Pearl Harbor in December 1941, Atkinson attempted to enlist in the Navy, but was refused, he requested a reassignment to war coverage, The New York Times sent him to the front lines as a war correspondent in China, where he covered the second Sino-Japanese war until 1945.
While in China, he visited Mao Tse-Tung in Yenan and was captivated by Mao, writing favorably on the Chinese Communist Party movement, against the Nationalist government of Chiang Kai-shek, which he saw as reactionary and corrupt. After visiting Yenan, he wrote that the CCP political system was best described as an "agrarian or peasant democracy, or as a farm labor party." Atkinson viewed the Chinese Communist Party as Communist in name only and more democratic than totalitarian. After the end of the war, Atkinson stayed only in New York before being sent to Moscow as a press correspondent. After returning from the Soviet Union, Atkinson was reassigned to the drama desk, where he remained until his retirement in 1960, he is given much credit for the growth of Off-Broadway into a major theatrical force in the 1950s, has been cited by many influential people in the theatre as crucial to their careers. David Merrick's infamous spoof ad for Subways Are For Sleeping—in which he hired seven ordinary New Yorkers who had the same names as prominent drama critics to praise his musical—had to wait for Atkinson's retirement, because Merrick could not find anyone with the right name.
There was only one Brooks Atkinson in New York City. Atkinson was elected a Fellow of the American Academy of Arts and Sciences in 1960, he came out of retirement in 1965 to write a favorable review of Man of La Mancha. After his retirement, he became a member of The Players who organized a tribute dinner for Atkinson's 80th birthday, attended by Arthur Miller, Elia Kazan, other prominent actors and playwrights, he died on January 1984 at Crestwood Hospital in Huntsville, Alabama. Atkinson had moved to Huntsville from his farm in Durham, New York in 1981 to be closer to his family. Skyline Promenades, 1925 East of the Hudson, 1931 The Cingalese Prince, 1934 Once Around the Sun, 1951 New Voices in American Theater, 1955 Tuesdays and Fridays, 1963 Broadway, 1970 This Bright Land: A Personal View, 1972 The Lively Years, 1920-1973, 1973 Henry Thoreau, The Cosmic Yankee, 1981 In 1960, the Mansfield Theatre in New York was renamed Brooks Atkinson Theatre in his honor. Brooks Atkinson Theatre Broadway, New York, NY Brooks Atkinson papers, 1904-1980, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
While the Sun Shines (play)
While the Sun Shines is a comedy play by the British writer Terence Rattigan, first staged in 1943. It was a popular success, running for 1,154 performances more than Rattigan's previous hit French Without Tears, proved his longest running West End play. A Broadway production followed in 1944; the action takes place over three acts in an apartment at The Albany where the wealthy Earl of Harpenden, serving in wartime as an ordinary seaman, is about to marry his long-standing fiancée. Complications are caused by the arrival of two rival suitors an American airman and a Free French officer, Harpenden's prospective father-in-law and an old girlfriend; the cast of the Globe Theatre production included Douglas Jefferies, Robert Long, Hugh McDermott, Jane Baxter, Ronald Squire, Eugene Deckers and Brenda Bruce. James Agate thought it “delightful, a little masterpiece of tingling impertinence”. and on Broadway, the New York Herald Tribune found "A gay drawing-room comedy has come romping to the rescue of the faltering season."
In 1947 the play was turned into a film of the same title directed by Anthony Asquith, a frequent collaborator with Rattigan on various film projects. John Russell Taylor; the Rise and Fall of the Well-Made Play. Routledge, 2013. While the Sun Shines at the Internet Broadway Database
Julie Frances Christie is a British actress. An icon of the "swinging London" era of the 1960s, she has received such accolades as an Academy Award, a Golden Globe Award, a BAFTA Award, a Screen Actors Guild Award, she has appeared in six films that were ranked in the British Film Institute's 100 greatest British films of the 20th century, in 1997 she received the BAFTA Fellowship. Christie's breakthrough film role was in Billy Liar, she came to international attention for her performances in Darling, for which she won the Academy Award for Best Actress, Doctor Zhivago, the eighth highest-grossing film of all time after adjustment for inflation. In the following years, she starred in Fahrenheit 451, Far from the Madding Crowd, The Go-Between, McCabe & Mrs. Miller, for which she received her second Oscar nomination, Don't Look Now and Heaven Can Wait. From the early 1980s, her appearances in mainstream films decreased, though she held roles as Thetis in Wolfgang Petersen's historical epic Troy and as Madam Rosmerta in Harry Potter and the Prisoner of Azkaban.
She has continued to receive significant critical recognition for her work, including Oscar nominations for the independent films Afterglow and Away from Her. Christie was born on 14 April 1940 at Singlijan Tea Estate, Assam, British India, the elder child of Rosemary, a Welsh painter, Francis "Frank" St. John Christie, her father ran the tea plantation. She has a younger brother, an older half-sister, from her father's relationship with an Indian woman, who worked as a tea picker on his plantation. Frank and Rosemary Christie separated, she was baptised in the Church of England, studied as a boarder at the independent Convent of Our Lady school in St. Leonards-on-Sea, East Sussex, after being expelled from another convent school for telling a risqué joke that reached a wider audience than anticipated. After being asked to leave the Convent of Our Lady as well, she attended Wycombe Court School, High Wycombe, during which time she lived with a foster mother from the age of six. After her parents' divorce, Christie spent time with her mother in rural Wales.
As a teenager at the all-girls' Wycombe Court School, she played "the Dauphin" in a production of Shaw's Saint Joan. She studied at the Central School of Speech and Drama. Christie made her professional stage debut in 1957, her first screen roles were on British television, her earliest role to gain attention was in BBC serial A for Andromeda. She was a contender for the role of Honey Rider in the first James Bond film, Dr. No, but producer Albert R. Broccoli thought her breasts were too small. Christie appeared in two comedies for Independent Artists: The Fast Lady, her breakthrough role, was as Liz, the friend and would-be lover of the eponymous character played by Tom Courtenay in Billy Liar, for which she received a BAFTA Award nomination. The director, John Schlesinger cast Christie only after another actress, Topsy Jane, had dropped out of the film. Christie appeared as Daisy Battles in Young Cassidy, a biopic of Irish playwright Seán O'Casey, co-directed by Jack Cardiff and John Ford, her role as an amoral model in Darling led to Christie becoming known internationally.
Directed by Schlesinger, co-starring Dirk Bogarde and Laurence Harvey, Christie had only been cast in the lead role after Schlesinger insisted, the studio having wanted Shirley MacLaine. She received the Academy Award for Best Actress and the BAFTA Award for Best British Actress in a Leading Role for her performance. In David Lean's Doctor Zhivago, adapted from the epic/romance novel by Boris Pasternak, Christie's role as Lara Antipova became her best known; the film was a major box-office success. As of 2016, Doctor Zhivago is the 8th highest-grossing film of all time, adjusted for inflation. According to Life magazine, 1965 was "The Year of Julie Christie". After dual roles in François Truffaut's adaptation of the Ray Bradbury novel Fahrenheit 451, starring with Oskar Werner, she appeared as Thomas Hardy's heroine Bathsheba Everdene in Schlesinger's Far from the Madding Crowd. After moving to Los Angeles in 1967, she appeared in the title role of Richard Lester's Petulia, co-starring with George C. Scott.
Christie's persona as the swinging sixties British woman she had embodied in Billy Liar and Darling was further cemented by her appearance in the documentary Tonite Let's All Make Love in London. In 1967, Time magazine said of her: "What Julie Christie wears has more real impact on fashion than all the clothes of the ten best-dressed women combined". In Joseph Losey's romantic drama The Go-Between, Christie had a lead role along with Alan Bates; the film won the Grand Prix the main award at the Cannes Film Festival. She earned a second Best Actress Oscar nomination for her role as a brothel madame in Robert Altman's postmodern western McCabe & Mrs. Miller; the film was the first of three collaborations between Christie and Warren Beatty, who described her as "the most beautiful and at the same time the most nervous person I had known". The couple had a high-profile but intermittent relationship between 1967 and 1974. After the relationship ended, they worked together again in the comedies Shampoo and Heaven Can Wait.
Her other films during the decade were Nicolas Roeg's thriller Don't Look Now, in which she co-starred with Donald Sutherland, and
Sir Terence Mervyn Rattigan, CBE was a British dramatist. He was one of England's most popular mid twentieth century dramatists, his plays are set in an upper-middle-class background. He wrote The Winslow Boy, The Browning Version, The Deep Blue Sea and Separate Tables, among many others. A troubled homosexual, who saw himself as an outsider, his plays centred on issues of sexual frustration, failed relationships, a world of repression and reticence. Terence Rattigan was born in 1911 in London, of Irish Protestant extraction, he had Brian. They were the grandsons of Sir William Henry Rattigan, a notable India-based jurist, a Liberal Unionist Member of Parliament for North-East Lanarkshire, his father was Frank Rattigan CMG, a diplomat whose exploits included an affair with Princess Elisabeth of Romania which resulted in her having an abortion. The Royal House of Romania is considered to be the inspiration of Rattigan's play The Sleeping Prince. Rattigan's birth certificate and his birth announcement in The Times indicate he was born on 9 June 1911.
However, most reference books state. There is evidence suggesting, he was given no middle name. Rattigan was educated at Sandroyd School from 1920 to 1925, at the time based in Cobham and Harrow School. Rattigan played cricket for the Harrow First XI and scored 29 in the Eton–Harrow match in 1929, he was a member of the Harrow School Officer Training Corps and organised a mutiny, informing the Daily Express. More annoying to his headmaster, Cyril Norwood, was the telegram from the Eton OTC, "offering to march to his assistance", he went to Trinity College, Oxford. Success as a playwright came early, with the comedy French Without Tears in 1936, set in a crammer; this was inspired by a 1933 visit to a village called Marxzell in the Black Forest, where young English gentlemen went to learn German. Rattigan's determination to write a more serious play produced After the Dance, a satirical social drama about the "bright young things" and their failure to politically engage; the outbreak of the Second World War scuppered any chances of a long run.
Shortly before the war, Rattigan had written a satire about Follow My Leader. During the war, Rattigan served in the Royal Air Force as a tail gunner, he was a friend of Spike Milligan's junior officer, Lieutenant Tony Goldsmith, killed in the Battle of Longstop Hill, whilst on observation post duty. Rattigan sent it to The Times. A copy of it is in "Rommel?" "Gunner Who?", one volume of Milligan's war memoirs. After the war, Rattigan alternated between comedies and dramas, establishing himself as a major playwright: the most famous of which were The Winslow Boy, The Browning Version, The Deep Blue Sea, Separate Tables, he believed in understated emotions and craftsmanship, deemed old fashioned and "pre-war" after the overnight success in 1956 of John Osborne's Look Back in Anger began the era of kitchen sink dramas by the writers known as the Angry Young Men. Rattigan responded to this critical disfavour with some bitterness, his plays Ross and Boy, In Praise of Love, Cause Célèbre, however show no sign of any decline in his talent.
Rattigan explained that he wrote his plays to please a symbolic playgoer, "Aunt Edna", someone from the well-off middle-class who had conventional tastes. "Aunt Edna" inspired Joe Orton to create "Edna Welthorpe", a mischievous alter ego stirring up controversy about his own plays. Rattigan was gay, with numerous lovers but no long-term partners, a possible exception being his "congenial companion... and occasional friend" Michael Franklin. It has been claimed his work is autobiographical, containing coded references to his sexuality, which he kept secret from all but his closest friends. There is some truth in this. On the other hand, for the Broadway staging of Separate Tables, he wrote an alternative version of the newspaper article in which Major Pollock's indiscretions are revealed to his fellow hotel guests. However, Rattigan changed his mind about staging it, the original version proceeded. Rattigan was fascinated with the character of T. E. Lawrence. In 1960 he wrote. Preparations were made to film it, Dirk Bogarde accepted the role.
However, it did not proceed because the Rank Organisation withdrew its support, not wishing to offend David Lean and Sam Spiegel, who had started to film Lawrence of Arabia. Bogarde called Rank's decision "my bitterest disappointment". In 1960, a musical version of French Without Tears was staged as Joie de Vivre, with music b