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Perhaps best known for his chilling performance as "Candyman", the charismatic 6' 5" actor Tony Todd has consistently turned in compelling performances since his debut in the fantasy film Sleepwalk (1986). Born in Washington, D.C., Todd spent two years on a scholarship at the University of Connecticut, which, in turn, led to a scholarship from the renowned Eugene O'Neill National Theatre Institute. It proved to be the foundation for intense stints at the Hartman Conservatory in Stamford, Connecticut and the Trinity Square Repertory Theatre Conservatory in Providence, Rhode Island. Todd appeared in dozens of classical and many experimental plays, yet still managed to find time to teach playwriting to high school students in the Hartford public school system.
Todd's extensive credits exemplify his versatility. They include such film classics as The Rock (1996), The Crow (1994), Lean on Me (1989), Bird (1988), Night of the Living Dead (1990), Final Destination (2000), the multiple Academy Award winning Oliver Stone film Platoon (1986) and The Secret (2000), which was nominated and screened at the Cannes Film Festival. Todd's recent films include the independent film Silence (2002) and Final Destination 2 (2003). He has had prominent guest starring roles in numerous critically-acclaimed television series, including recurring on Boston Public (2000), For the People (2002) and The District (2000), as well as NYPD Blue (1993), Smallville (2001), Law & Order (1990), Crossing Jordan (2001), Homicide: Life on the Street (1993) and The X-Files (1993). Todd recurred on three incarnations of "Star Trek" and guest starred on Xena: Warrior Princess (1995) and episodes of CSI: Miami (2002) and Andromeda (2000). His television movies include starring roles in True Women (1997), Black Fox (1995), Butter (1998), Ivory Hunters (1990), Babylon 5: A Call to Arms (1999) and Control Factor (2003).
Todd's considerable theatre credits include the world premiere of award-winning playwright August Wilson's "King Hedley II", where he originated the title role in Pittsburgh, Seattle and Boston. Variety commented: "Todd's King Hedley dominates the stage. A sour-faced mix of rage and resolve, anger and vulnerability. Todd's Hedley was a memorable tour-de-force even on opening." He also received a coveted Helen Hayes nomination for his performance in Athol Fugard's "The Captain's Tiger at La Jolla, the Manhattan Theatre Club and the Kennedy Center. Other theatre credits include "Les Blancs", "Playboy of the West Indies", "Othello", "Zooman and the Sign", award-winning playwright Keith Glover's "Dark Paradise", "Aida" (on Broadway), and most recently, "Levee James" for the prestigious Eugene O'Neill Playwrights Conference and The New Dramatist Guild.- Actor
- Soundtrack
Widely regarded as the one of greatest stage and screen actors both in his native USA and internationally, James Earl Jones was born on January 17, 1931 in Arkabutla, Mississippi. At an early age, he started to take dramatic lessons to calm himself down. It appeared to work as he has since starred in many films over a 40-year period, beginning with the Stanley Kubrick classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). For several movie fans, he is probably best known for his role as Darth Vader in the original Star Wars trilogy (due to his contribution for the voice of the role, as the man in the Darth Vader suit was David Prowse, whose voice was dubbed because of his British West Country accent). In his brilliant course of memorable performances, among others, he has also appeared on the animated series The Simpsons (1989) three times and played Mufasa both in The Lion King (1994) and The Lion King (2019), while he returned too as the voice of Darth Vader in Star Wars: Episode III - Revenge of the Sith (2005) and Rogue One: A Star Wars Story (2016).- Actor
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- Soundtrack
William Claude Rains, born in the Clapham area of London, was the son of the British stage actor Frederick Rains. The younger Rains followed, making his stage debut at the age of eleven in "Nell of Old Drury." Growing up in the world of theater, he saw not only acting up close but the down-to-earth business end as well, progressing from a page boy to a stage manager during his well-rounded learning experience. Rains decided to come to America in 1913 and the New York theater, but with the outbreak of World War I the next year, he returned to serve with a Scottish regiment in Europe. He remained in England, honing his acting talents, bolstered with instruction patronized by the founder of the Royal Academy of Dramatic Arts, Herbert Beerbohm Tree. It was not long before his talent garnered him acknowledgment as one of the leading stage actors on the London scene. His one and only silent film venture was British with a small part for him, the forgettable -- Build Thy House (1920).
In the meantime, Rains was in demand as acting teacher as well, and he taught at the Royal Academy. Young and eager Laurence Olivier and John Gielgud were perhaps his best known students. Rains did return to New York in 1927 to begin what would be nearly 20 Broadway roles. While working for the Theater Guild, he was offered a screen test with Universal Pictures in 1932. Rains had a unique and solid British voice-deep, slightly rasping -- but richly dynamic. And as a man of small stature, the combination was immediately intriguing. Universal was embarking on its new-found role as horror film factory, and they were looking for someone unique for their next outing, The Invisible Man (1933). Rains was the very man. He took the role by the ears, churning up a rasping malice and volume in his voice to achieve a bone chilling persona of the disembodied mad doctor. He could also throw out a high-pitched maniac laugh that would make you leave the lights on before going to bed. True to Universal's formula mentality, it cast him in similar roles through 1934 with some respite in more diverse film roles -- and further relieved by Broadway roles (1933, 1934) for the remainder of his contract. By 1936, he was at Warner Bros. with its ambitious laundry list of literary epics in full swing. His acting was superb, and his eyes could say as much as his voice. And his mouth could take on both a forbidding scowl and the warmest of smiles in an instant. His malicious, gouty Don Luis in Anthony Adverse (1936) was inspired. After a shear lucky opportunity to dispatch his young wife's lover, Louis Hayward, in a duel, he triumphs over her in a scene with derisive, bulging eyes and that high pitched laugh -- with appropriate shadow and light backdrop -- that is unforgettable.
He was kept very busy through the remainder of the 1930s with a mix of benign and devious historical, literary, and contemporary characters always adapting a different nuance -- from murmur to growl -- of that voice to become the person. He culminated the decade with his complex, ethics-tortured Senator "Joe" Paine in Mr. Smith Goes to Washington (1939). That year he became an American citizen. Into the 1940s, Rains had risen to perhaps unique stature: a supporting actor who had achieved A-list stardom -- almost in a category by himself. His some 40 films during that period ranged from subtle comedy to psychological drama with a bit of horror revisited; many would be golden era classics. He was the firm but thoroughly sympathetic Dr. Jaquith in Now, Voyager (1942) and the smoothly sardonic but engaging Capt. Louis Renault -- perhaps his best known role -- in Casablanca (1942). He was the surreptitiously nervous and malignant Alexander Sebastian in Notorious (1946) and the egotistical and domineering conductor Alexander Hollenius in Deception (1946). He was the disfigured Phantom of the Opera (1943) as well. He played opposite the challenging Bette Davis in three movies through the decade and came out her equal in acting virtuosity. He was nominated four times for the Best Supporting Actor Oscar -- but incredibly never won. With the 1950s the few movies left to an older Rains were countered by venturing into new acting territory -- television. His haunted, suicidal writer Paul DeLambre in the mountaineering adventure The White Tower (1950), though a modest part, was perhaps the most vigorously memorable film role of his last years. He made a triumphant Broadway return in 1951's "Darkness at Noon."
Rains embraced the innovative TV playhouse circuit with nearly 20 roles. As a favored 'Alfred Hitchcock' alumnus, he starred in five Alfred Hitchcock Presents (1955) suspense dramas into the 1960s. And he did not shy away from episodic TV either with some memorable roles that still reflected the power of Claude Rains as consummate actor -- for many, first among peers with that hallowed title.- Actor
- Soundtrack
Scatman Crothers was born Benjamin Sherman Crothers on May 23, 1910 in Terre Haute, Indiana. Songwriter ("Dearest One"), actor, composer, singer, comedian, and guitarist who, after high school, appeared in nightclubs, hotels, and films, and on television. He made many records, including his own compositions. He joined ASCAP in 1959, and his popular-song compositions also include "The Gal Looks Good", "Nobody Knows Why", "I Was There", "A Man's Gotta Eat", and "When, Oh When". Scatman Crothers died at age 76 of pneumonia and lung cancer at his home in Van Nuys, California on November 22, 1986.- Actor
- Soundtrack
One of America's most heard men back in the day with thousands of radio programs to his credit and the possessor of one of the most prominent male voices of that medium's war-era "Golden Age," veteran actor Les Tremayne was considered to have the third most distinctive tones on the airwaves, only behind Bing Crosby and Franklin D. Roosevelt!
Born Lester Tremayne Henning in London, England, on April 16, 1913, the family moved to Chicago, Illinois when the boy was only four. Wanting to bury his British accent growing up in the States, Tremayne took an an eager interest in community theatre. He began his professional career as a dancer in vaudeville, supplementing his income on the side as a barker in various amusement parks.
Tremayne received his first radio job in Chicago when he was 17 years old. While gaining experience, he attended Northwestern University where he studied Greek drama and also took up anthropology at Columbia University and UCLA. During the 1930s and 1940s, Tremayne was usually heard in more than one show per week. Growing in leaps and bounds as a voice that could handle many types, ages and accents, his first big break occurred in 1934 as the leading man on the soap drama "The Romance of Helen Trent." He then replaced actor Don Ameche as the leading man on the popular weekly radio drama "The First Nighter," a stint that lasted six years. During that time, his more popular series work included that of super-sleuth Nick Charles in "The Adventures of the Thin Man." He also became the announcer on "The Bob Crosby Show."
Searching for bigger opportunities, Tremayne transplanted himself to both Los Angeles New York in 1943, and continued to find radio work as the title role in "The Falcon," played detective Pat Abbott in "The Abbott Mysteries," appeared on Bob Crosby's programs "The Old Gold Show" and "The Bob Crosby Show," and co-starred as the straight man alongside "The Great One" on "The Jackie Gleason/Les Tremayne Show" when Crosby enlisted for WWII service. Other shows would include a breakfast talk format, "The Tremaynes," with second wife Alice Reinheart, as well as the programs "Cavalcade of America," "Ford Theatre," "Inner Sanctum Mysteries," "Kraft Music Hall," "Lux Radio Theatre" and "The Whistle," among so many others.
In the 1950s, Tremayne took on films and the new medium of TV. Typically playing military types, erudite professionals, shifty execs and errant husbands, his more officious roles included playing a police commission chief in The Racket (1951); a colonel in Francis Goes to West Point (1952); a lawyer in Susan Slept Here (1954); a senator in A Man Called Peter (1955) and another colonel in The Perfect Furlough (1958). Best remembered for his characters in cult 1950s sci-fiers, he co-starred or was featured in The War of the Worlds (1953), The Monolith Monsters (1957), The Monster of Piedras Blancas (1959) and The Angry Red Planet (1959). His mellifluous voice was also utilized in films (Forbidden Planet (1956)), in film trailers (The Iron Petticoat (1956)) and for narrating documentaries (Adventures in the Red Sea (1951)).
On TV, Tremayne earned frequent appearances on such established programs as "The Danny Thomas Show," "Mr. Adams and Eve," "The Thin Man," "Bachelor Father," "77 Sunset Strip," "The Jack Benny Program," "The Rifleman," "State Trooper," "M Squad," "Thriller," "Perry Mason," "Alfred Hitchcock Presents," "Checkmate" and "The Andy Griffith Show." He also had a recurring TV role as Major Stone on The Adventures of Rin Tin Tin (1954) and co-starred as Inspector Richard Queen, the father of the famed mystery writer (played by George Nader on the series The Further Adventures of Ellery Queen (1958).
A flurry of unworthy low-budget films came Tremayne's way in later years including Shootout at Big Sag (1962), King Kong vs. Godzilla (1963), The Slime People (1963), Creature of Destruction (1968), Strawberries Need Rain (1971) and Fangs (1974). He also found work with the CBS Mystery Radio Theatre, and also provided voices for "Mr. Magoo," "Johnny Quest," "The Smurfs," "Go-Bots," "Scooby Doo" and "Rikki Tiki Tavi."
Inducted into the Radio Hall of Fame in 1995, Tremayne would take his final bow in the comedy film horror The Naked Monster (2005) which featured several other cult actors of '50s sci-fi/horror including Kenneth Tobey, John Agar, Robert Clarke, Robert Cornthwaite, Jeanne Carmen, Lori Nelson, Ann Robinson and Gloria Talbott.
Tremayne died of heart failure in Santa Monica, California, on December 19, 2003, at the age of 90, and was survived by his fourth wife, Joan Hertz.- Actor
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Avery Franklin Brooks was born on October 2, 1948 in Evansville, Indiana to a musically talented family. His maternal grandfather, Samuel Travis Crawford, was a tenor who graduated from Tougaloo College in Mississippi in 1901. Crawford toured the country singing with the Delta Rhythm Boys in the 1930s. Brooks also is musically inclined having played jazz piano, and has performed as the great baritone/actor/scholar Paul Robeson in the play entitled "Paul Robeson". He sang the lead in the A. Anthony Davis opera "X: The Life and Times of Malcolm X", and performed as "Theseus" and "Oberon" in Shakespeare's "A Midsummer Night's Dream" at Washington's Arena Stage. Long affiliated with Rutgers University, he was the institution's first Black MFA graduate. Additionally, he served as the National Black Arts Festival's (NBAF) Artistic Director throughout the 1990s in Atlanta, Georgia. An actor, activist, musician, director, and educator of epic proportions, Brooks was quoted in an interview about his work with NBAF and his performances: "If I were a carpenter, I'd find a way to empower using that skill. I'm using as much as God has given--my mind, my voice, my heart, my art forms. This is the highest form of expression on the planet from God, to me, to you".- Actor
- Producer
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Keith David is a classically trained actor, winning 3 Emmys out of 6 nominations as well as being nominated for a Tony award. He starred in the recently concluded TV series "Greenleaf" for Oprah Winfrey's OWN network. Upcoming films include "Horizon Line" with Allison Williams ("Get Out") and "Black As Night," for Amazon.
In "Greenleaf" Keith portrayed 'Bishop James Greenleaf', the charismatic and God-fearing leader of the Calvary Fellowship and the patriarch of the family. The series followed the unscrupulous world of the Greenleaf family, their scandalous secrets and lies, and their sprawling Memphis megachurch. The series was praised for its push and pull dynamic, its hypocrisy, and its compelling characters. Keith's stellar performance was best stated by The Hollywood Reporter, "... Keith David ...is perfectly cast as Bishop Greenleaf. Whether he's playing to the congregation at the altar or getting conspiratorial in a smaller venue, this is an unusually great and meaty role for David."
On the big screen, Keith co-starred with Chadwick Boseman in "21 Bridges". Prior credits include "Night School" with Kevin Hart and Tiffany Haddish and "Tales from the Hood 2". Additional titles include the Academy award-winning films "Crash" and "Platoon." He is widely recognized for appearing in the highly-acclaimed films Disney's "The Princess and the Frog", "Requiem for a Dream", "Men at Work", "They Live", "There's Something About Mary", and "The Thing."
Other recent TV credits include an upcoming appearance on "Creepshow," "NCIS: New Orleans", "Blackish," MacGyver", and "Fresh Off the Boat". Earlier credits include "Community", "Enlisted", "ER", and "Mister Roger's Neighborhood". On Broadway, Keith starred in August Wilson's "Seven Guitars" and "Jelly's Last Jam" for which he garnered a Tony Award nomination for Best Supporting Actor in a Musical.
Keith's work as a voice actor has made him a household name. His rich and powerful voice has been featured in national commercials, award shows, documentaries, video games, and animation. His work in narration has earned him three Emmys for Ken Burns' "Jackie Robinson", "The War", and "Unforgivable Blackness - The Rise and Fall of Jack Johnson". Some of his other voice acting credits include countless fan favorites such as "Adventure Time", "Bojack Horseman," "Rick & Morty", "Spawn", and "Gargoyles". Keith has lent his voice to many video game titles. Recently he portrayed the character "Spawn" in the reboot of the "Mortal Kombat" video game. Other appearances include the "Halo" series (games 2, 3, and 5), the "Saint's Row" series (games 1, 2, and 4), as well as the "Mass Effect" series (games 1,2, and 3).
Born and raised in New York by his parents Lester and Dolores, Keith became interested in the arts at a very young age. After appearing in his school's production of "The Wizard of Oz", he knew this was what he wanted to do for the rest of his life. He enrolled in New York's High School of the Performing Arts and continued his studies at The Juilliard School. After graduation, he was immediately hired by Joseph Papp as an understudy for the role of Tullus Aufidius in William Shakespeare's "Coriolanus." His work with Mr. Papp and the New York Shakespeare Festival launched his incredible career.
In addition to his versatile acting and voiceover work, Keith is also a remarkable singer. He's has been touring in 2 shows, "Too Marvelous for Words", in which he portrays the legendary singer Nat King Cole, and a show about the incredible Blues singer Joe Williams, "Here's to Life."
Twitter: @ImKeithDavid Instagram: @SilverThroat Facebook: @ImKeithDavid- He was the narrator of the famous TV series The Invaders, an American science fiction television program created by Larry Cohen that aired on ABC for two seasons, from January 10, 1967 to March 26, 1968. Dominic Frontiere, who had provided scores for Twelve O'Clock High and The Outer Limits, provided scores for The Invaders as well. The series was later shown in reruns on the Sci Fi Channel. The series was a Quinn Martin Production (season one was produced in association with the ABC Television Network - or as it was listed in the end credits, "The American Broadcasting Company Television Network").
- American character actor Marc Alaimo (born Michael Joseph Alaimo) began acting on the stage in the early 1960s. Even in his early days he had a propensity for playing shady characters or sinister villains, including the treacherous Iago of Shakespeare's Othello and the brutish Bill Sykes of Oliver!. Alaimo had come to acting thanks to a high school speech teacher who persuaded him to audition for school plays. He was subsequently mentored by a professor of drama at Marquette University where he not only acted in plays (1961-63) but also utilised his skills as a handyman in the construction of sets.
Alaimo moved to New York in 1964 to perform with various off-Broadway companies. He also went on tour (as Macduff) with the National Shakespeare Company in a production of Macbeth. Between 1964 and 1966, Alaimo completed studies in drama and ballet at the American Musical and Dramatic Academy (AMDA). In 1965, he joined Equity, and, after discovering that there was already a Michael Alaimo on their books, changed his first name to Marc.The ensuing years saw him with the Chelsea Theater Center in New York and the McCarter Theatre in Princeton, New Jersey, for the latter in classical roles like Laertes (Hamlet) and Lucky (Waiting for Godot). In 1967, Alaimo returned to his home state to join the Milwaukee Repertory Theater. There, he was acclaimed for his performance as the chief antagonist in Othello. According to a reviewer for the university newspaper "His Iago is flawless. He uses quick gestures and movement, and every word is distinct. A turn of his head tells the audience what turn the subsequent action will take...Alaimo uses his agile movements to fit comfortably and perfectly into the role." Alaimo went on to other meaty roles on the stage during the remainder of the sixties, often in famous plays like A Streetcar Named Desire, The Importance of Being Earnest and Marat-Sade. After headlining as a cat burglar in a Philadelphia production of Sidney Kingsley's Detective Story, Alaimo relocated to California in late 1973.
In addition to continuing his theatrical career, Alaimo had by 1970 segued into television, cast in his first recurring role as Frank Barton in the daytime soap The Doctors (1963). In Hollywood, he soon found himself typecast, either as tough police officers or as baddies, though on balance more often the latter. In one of his many villainous roles, he played one of a duo of serial killers posing as an L.A. detective in an episode of Police Story (1973). He appeared in many top-rated 1970s and 80s crime shows, including The Rockford Files (1974), Barnaby Jones (1973), Starsky and Hutch (1975), Kojak (1973) and Hill Street Blues (1981), as well as in occasional feature films (one might recall his alien assassin in The Last Starfighter (1984) or his Mexican cartel boss in Tango & Cash (1989)). From 1987, Alaimo became a regularly fixture --as multiple characters (and one standout role in particular)--in the Star Trek franchise.
He became the first actor to portray a Romulan in Star Trek: The Next Generation (1987) (Commander Tebok, in "The Neutral Zone") and the first Cardassian (Gul Macet) ever featured in any Star Trek series (TNG's "The Wounded'). Earlier, he had made his series debut --again in heavy makeup -- as a lupine humanoid (Antican) delegate in the episode "Lonely Among Us".
Above all else, Alaimo's definitive screen incarnation has been the complex, endlessly scheming, power-obsessed, often deceptively amiable Cardassian military leader Gul Dukat, first seen on TNG, but more prominently featured in Star Trek: Deep Space Nine (1993) and considered by many fans to be one of the greatest of all Star Trek villains. The actor himself (unlike the DS9 writing staff) does not regard the Dukat character as evil, explaining "I've tried to play him with some sort of sensitivity. I could have gone one-dimensionally aggressive and mean and ugly with this character if I'd chosen to. I have the feeling that's what they kind of wanted. I thought, 'I've done that a hundred and fifty times already.' So I wanted to give him some dimension, some depth, and I think it's worked very well".
Alaimo's long neck, pronounced neck muscles and broad shoulders prompted make-up artist Michael Westmore to accentuate these physical characteristics (in particular, by creating the pronounced Cardassian neck ridges), effectively creating a template for the menacing appearance of the species. At a 2015 Star Trek convention, Alaimo was interviewed, saying "I've had a pretty long career in a lot of different areas, but 'Deep Space Nine' has become this wonderful little feather in my cap, and I'm thankful for that. I'm proud of the series, and the whole experience has been a very positive one for me." - Actor
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For seven seasons, acclaimed stage, screen and television actor James McDaniel portrayed Lt. Arthur Fancy on legendary television series NYPD Blue (1993). McDaniel recently completed shooting The Battle for Bunker Hill (2008), with director Kevin Willmott (CSA: Confederate States of America). McDaniel stars alongside Saeed Jaffrey (Gandhi), and is also executive producer. Other recent films include War Eagle, Arkansas (2007), Living Hell (2008) and El Cortez (2006).
McDaniel received an Emmy and a Peabody Award for his performance in Edge of America (2004) and an Emmy Award nomination for Public Television's Storytime (1992). An accomplished stage actor, he won the prestigious Obie Award and was nominated for a Drama Desk Award for his portrayal of Wendall in the New York stage production of Before It Hits Home. He also received the Clarence Derwent Award for the Tony Award-winning Broadway play Six Degrees of Separation.
His additional feature films include John Sayles's Sunshine State (2002), Spike Lee's Malcolm X (1992), Strictly Business (1991), El Cortez (2006), Woody Allen's Alice (1990), Rocket Gibraltar (1988), Truth or Consequences, N.M. (1997) with Kiefer Sutherland, Crack in the Mirror and Banzaï (1983). On television, McDaniel has appeared on Hill Street Blues (1981), Law & Order (1990), Taken (2002), "Las Vegas" (2003)_, "L.A. Law" (1986)_; television movies such as Love Kills with Kristin Davis and The Road to Galveston (1996) opposite Cicely Tyson; and mini-series including Common Ground, The Old Man and the Sea (1990), and Internal Affairs (1988) (TV)_. He co-hosted the ABC special More Secrets Revealed (1995).
Born and raised in Washington, D.C., McDaniel attended the University of Pennsylvania, majoring in veterinary medicine. McDaniel lives in New York City with his wife Hannelore. They have two sons.- Producer
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Norm Prescott was born on 31 January 1927 in Boston, Massachusetts, USA. He was a producer and composer, known for Footloose (1984), Star Trek: The Animated Series (1973) and Journey Back to Oz (1972). He died on 2 July 2005 in Encino, California, USA.- Actor
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Actor, composer, songwriter, voiceover artist and author. He joined ASCAP in 1956, and his chief musical collaborators included Tony Romano, Ruby Raksin, Walter Gross, and Ed Brandt. His popular-song compositions include "Hollywood Soliloquy", "The Clown", "Drowning My Sorrow", and "Voice in the Wind".- Actor
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Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).
Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.
With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.
In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).
In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.- Director
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Director. Writer. Producer. Actor. Poet. He studied history, literature and theatre for some time, but didn't finish it and founded instead his own film production company in 1963. Later in his life, Herzog also staged several operas in Bayreuth, Germany, and at the Milan Scala in Italy. Herzog has won numerous national and international awards for his poetic feature and documentary films.- Kenneth MacDonald was born Kenneth Dollins on September 8, 1901, in Portland, IN. He began his career as a stage actor in the 1920s and came to Hollywood in the early 1930s. He broke into motion pictures, but after several small roles, he found employment difficult to come by. He hit upon the idea of a little self-promotion, wrote a pamphlet called "The Case of Kenneth MacDonald" and distributed it to as many producers as he could find. The ploy worked; he started getting jobs at most of the studios in Hollywood, and became a regular fixture in Columbia's Charles Starrett series of "Durango Kid" westerns.
However, he is probably best remembered as a foil for many of Columbia's comedy teams in the studio's two-reelers, particularly The Three Stooges. His suave demeanor and rich, booming voice perfectly fit the role of the con man, crooked lawyer or criminal gang leader he often played, and he showed a surprising flair for physical comedy, taking a two-finger poke in the eyes from Moe Howard, a pie in the face from Larry Fine or an iron bar on the head from Curly Howard with the best of them. He left the Columbia shorts department in 1955 and semi-retired from acting.
From 1951-53 he was a frequent guest star, mostly as a sheriff, on the television series The Range Rider (1951). From 1957-66 he had a recurring role as Judge Carter on the television series Perry Mason (1957). He was also a frequent guest star as Col. Parker on the ABC television series Colt .45 (1957). Kenneth MacDonald died at age 70 at the Motion Picture Country Home in Woodland Hills, CA, on May 5, 1972 from a combination of brain and lung cancer. - George Macready--the name probably does not ring any bells for most but the voice would be unmistakable. He attended and graduated from Brown University and had a short stint as a New York newspaperman, but became interested in acting on the advice of colorful Polish émigré classical stage director Richard Boleslawski, who would go on to Hollywood to direct some notable and important films, including Rasputin and the Empress (1932)--the only film in which siblings John Barrymore, Ethel Barrymore and Lionel Barrymore appeared together--and Clive of India (1935) with Ronald Colman. Perhaps acting was meant for Macready all along--he claimed that he was descended from 19th-century Shakespearean actor William Macready.
In 1926 Macready made his Broadway debut in "The Scarlet Letter". His Broadway career would extend to 1958, entailing 15 plays--mainly dramas but also some comedies--with the lion's share of roles in the 1930s. His Shakespearean run included the lead as Benedick in "Much Ado About Nothing" (1927), "Macbeth" (1928) and "Romeo and Juliet" (1934), with Broadway legend Katharine Cornell. He co-starred with her again in "The Barretts of Wimpole Street" and with with Helen Hayes in "Victoria Regina" twice (1936 and 1937).
Macready's aquiline features coupled with distinctive high-brow bottom-voiced diction and superior, nose-in-the-air delivery that could be quickly tinged with a gothic menace made him perfect as the cultured bad guy. Added to his demeanor was a significant curved scar on his right cheek, remnant of a car accident in about 1919--better PR that it was a saber slash wound from his dueling days as a youth. He did not turn to films until 1942 and did not weigh-in fully committed until 1944, with a host of both well-crafted and just fair movies until the end of World War II. When he went all in, though, he excelled as strong-willed authoritarian and ambitious, murderous--but well-bred--villains. Among his better roles in that period were in The Seventh Cross (1944), The Missing Juror (1944), Counter-Attack (1945) and My Name Is Julia Ross (1945) with a young Nina Foch. Averaging six or more films per year throughout the 1940s, he appeared not only in dramas and thrillers, but also period pieces and even some westerns. His standout role, however--and probably the one he is best remembered for--was the silver-haired, dark-suited and mysteriously rich Ballin Mundson in Gilda (1946), who malevolently inserted himself into the lives of smoldering Rita Hayworth and moody Glenn Ford.
By the early 1950s he had sampled the waters of early TV. He had many appearances on such anthology series as Four Star Playhouse (1952), The Ford Television Theatre (1952) and Alfred Hitchcock Presents (1955), among others. He became a familiar presence in episodic TV series beginning in 1954. He made the rounds of most of the hit shows of the period, including a slew of westerns, including such obscure series as The Texan (1958) and The Rough Riders (1958). He was familiar to viewers of crime dramas--such as Perry Mason (1957)--and such classic sci-fi and horror series as Thriller (1960), The Outer Limits (1963) and Night Gallery (1969). He did some 200 TV roles altogether, but still continued his film appearances. He assayed what many consider his best role as the ambitious French Gen. Paul Mireau, a fanatic and martinet whose lust for fame and glory leads to the deaths of hundreds of French soldiers in a senseless frontal attack on heavily fortified German lines in Stanley Kubrick classic antiwar film Paths of Glory (1957). Macready's performance stood out in a film brimming with standout performances, from such veterans as Kirk Douglas, Adolphe Menjou, Ralph Meeker and Timothy Carey. The film was even more striking when it turns out that it was based on a true incident.
Macready stayed busy into the 1960s, mainly in TV roles. He had a three-year run as Martin Peyton in the hit series Peyton Place (1964), the first prime-time soap opera and a launching pad for many a young rising star of the time. His film roles became fewer, but there were some good ones--the Yul Brynner adventure period piece Taras Bulba (1962) and a meaty role as an advisor to US Prlesident Fredric March attempting to stop a coup by a right-wing general played by Burt Lancaster in the gripping Seven Days in May (1964). His next-to-last film appearance was as a very human Cordell Hull, Secretary of State, in Universal's splashy, big-budget but somewhat uneven story of Pearl Harbor, Tora! Tora! Tora! (1970).
Another role that stands out in his career is a one-in-a-kind film which you would not expect to find George Macready--Blake Edwards' uproarious comedy -The Great Race (1965) -. Macready shined in one of the film's several subplots, this one a spoof of the "Ruritanian" chestnut "The Prisoner of Zenda", in which the racers find themselves in the middle of palace intrigue in a small European monarchy. Macready played a general trying to stave off a coup by using Professor Fate (Jack Lemmon, who is a double for the drunken ruler. Macready held his own with such comedy veterans as Lemmon, Tony Curtis, Natalie Wood and a host of others. To top it of, Macready gets involved in one of the great pie fights in film history, and takes one right in the kisser!
In real life George Macready was as cultured as he appeared to be on-screen. He was a well-regarded connoisseur of art, and he and a fellow art devotee--and longtime friend--Vincent Price, opened a very successful Los Angeles art gallery together during World War II. As far as the villain roles went, Macready was grateful for the depth they allowed him through his years as both film and television actor. "I like heavies," he once said, and to that he added with a philosophic twinkle, "I think there's a little bit of evil in all of us." - Actor
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David Janssen was born David Harold Meyer in 1931 in Naponee, Nebraska, to Berniece Mae (Graf) and Harold Edward Meyer, a banker. He was of German, and some Swiss-German and Ulster-Scots, descent. David took the surname of his stepfather, Eugene Janssen. The Janssen family settled in Hollywood when he was a teenager and he attended Fairfax High School, where he developed an interest in acting. His film debut was a bit part in It's a Pleasure (1945), and at the age of 18 signed a contract with 20th Century-Fox. However, the studio dropped him after allegedly becoming disenchanted with his odd hairline and big prominent ears. Janssen had better luck at Universal, where he signed on in the early 1950s and became a supporting player in 32 films before appearing on TV as the star of Richard Diamond, Private Detective (1956). He resumed his movie career in 1961, a year after the series ended. His biggest success came from his lead in the series The Fugitive (1963), playing the haunted, hunted Dr. Richard Kimble, on the run for a murder he didn't commit. After the series ended, Janssen launched himself into a grueling schedule by appearing in lead and supporting roles in movies, but he had better luck with made-for-TV-movie roles and a short-lived series, O'Hara, U.S. Treasury (1971). He had another hit series with the cult favorite Harry O (1973). Janssen continued appearing in lead roles in nearly 20 made-for-TV-movies during the 1970s as well as other TV projects. He died in 1980 from a sudden heart attack at his Malibu home at the age of 48. Unfounded speculation holds that Janssen succumbed to alcoholism, a problem that plagued him most of his adult life. There were even unfounded rumors about drug use. However, a much more reasonable explanation for David Janssen's sudden demise is that this intense, dedicated, determined actor simply worked himself to death.- Additional Crew
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Hank Simms was born on 25 May 1923 in Tulsa, Oklahoma, USA. He was an actor, known for McMillan & Wife (1971), Banacek (1972) and McCoy (1975). He was married to Elinor "Moe" Eastman. He died on 7 August 2013 in Hot Springs, Arkansas, USA.- In the heyday of plays on the wireless, Preston Lockwood's tones were inimitable. Today they would be labelled fruity, but to the playgoer brought up in the dark days of the Second World War by the BBC Repertory Company, Lockwood's voice was a comforting presence. At once confiding and authoritative, warm and reverberative, it took the listener, so to speak, by the lapel and led him wherever the dramatist's imagination chanced to rove. Friendly or menacing, thoughtful or whimsical, it was above all what we used to call "received" English. That is to say, we listeners took it for granted.
It was how all Lockwood's generation of actors, famous or obscure, Cockney-born or Lancashire-bred, spoke. They all (or nearly all) aspired to sound - well, like Preston Lockwood. But in films, television or the theatre? They were another world; and the only one of them to win Lockwood's constant respect was the repertory theatre.
The son of a London Transport driving instructor, Preston Lockwood grew up between the wars when every town or city suburb had two or three theatres - one to receive tours of shows on their way to or from London, one a weekly rep and the third, a variety hall. So there was plenty of work for an aspiring performer. In those days weekly rep was a better training ground than anything available now, and Lockwood treasured it, learning one play in the morning, rehearsing another in the afternoon and performing a third at night.
Were productions a trifle "rough"? They made an actor ready, at any rate. They were exciting days. So was acting for the wireless then.
Before everything was pre-recorded, plays went out "live". Just as actors today will reminisce about the tension of playing in television in the post-war era when every mistake was obvious because there was no recording, Lockwood used to look back with affection to his years with the BBC Repertory Company when everything had to be right first time or somehow covered up.
He would vividly recall the days of Saturday Night Theatre when the cast fled to the basement of Broadcasting House during a Nazi air-raid on London and had to gather round a microphone to continue their performance. Where today's technician governs what is now known as the "input" of the various voices in a broadcast drama, the players then had to judge for themselves as a team.
It was the teamwork of such broadcasts and of weekly rep which Lockwood loved and missed in later years when everything seemed to him to be taken so much more seriously than in his youth. Yet he never gave up. In his late sixties he would still act in those remaining out-of-London reps at, say, Amersham or Maidenhead or Henley. And the plays? Well, East Lynne was among the melodramas.
Like the rest of his breed, Lockwood was ready to tour; and had a minor success for example as the elderly Geoffrey in a national tour of Ronald Harwood's The Dresser, the play about the last days of an old touring Shakespearean.
Lockwood's only recorded Shakespearean performance happened to be his first appearance (as Reginald Lockwood) on the West End stage. He played Margarelon in Michael MacOwan's modern- dress revival of Troilus and Cressida (Westminster Theatre) in 1938.
He had three lines. Encountering the curious and forthright Thersites (Stephen Murray) on the battlefield, Margarelon yells, "Turn, slave, and fight." Thersites: "What art thou?" He answers: "A bastard son of Priam's." When Thersites argues that one bastard should not fight with another, and promptly disappears, Margarelon mutters: "The devil take thee, coward!"
Whether Lockwood spoke his three lines well or ill goes unrecorded but he was soon drawn to the wireless, ever his favourite medium after the repertory theatres.
Apart from his years in broadcast drama, his performance as Dennis the Dachshund in Toytown made him particular popular with young listeners to Children's Hour in the 1950s; and he would pop up now and then on television as, say, a doctor in the Tenko series, the Lord Chancellor in Rumpole, the vicar before Dawn French appeared in The Vicar of Dibley (1994), a butler in a chocolate advertisement or a ghost clutching his severed head in order to "puff" cheap cigars. In his eighties another kind of fame came Lockwood's way, in a Cutting Edge programme as an old golfer at Northwood, Middlesex, describing his attitude to the game, his club and the rights of women players.
He was also seen by the sharp-eyed viewer in Miss Marple, The Power Game, Doctor Who, Keeping Up Appearances (1990) and Inspector Morse. Among his film credits were Julius Caesar, Time Bandits, Great Expectations, The Pirates of Penzance, Dangerous Love, and Lady Caroline Lamb, in which he played a publisher.
Is it perhaps a fact that actors who spend most of their early years before a microphone look a bit resourceless on the stage, because they are not used to acting, so to speak, full-length? Or was the tall, handsome and physically impressive Lockwood simply one of those solid workaday players who loved the work wherever it led him? At all events, he was seldom out of it. - Actor
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Signifying intelligence, eloquence, versatility and quiet intensity, one of the more important, critically acclaimed black actors to gain a Hollywood foothold in the 1970s was Paul Winfield. He was born in 1939 in Dallas, Texas, where he lived in his early years before moving with his family to Los Angeles' Watts district. He showed early promise as a student at Manual Arts High School, earning distinction with several performance awards. As a senior, he earned his first professional acting job and extended his theatrical education with a two-year scholarship to the University of Portland in Oregon. Subsequent scholarships led to his studies at Stanford and Los Angeles City College, among other colleges. He left U.C.L.A. just six credits short of his Bachelor's degree.
Paul's first big break came in 1964 when actor/director Burgess Meredith gave him a role in Le Roi Jones' controversial one-act play "The Dutchman and the Toilet". Director Meredith cast him again four years in "The Latent Heterosexual" with Zero Mostel. Although he won a contract at Columbia Pictures in 1966 and built up his on-camera career with a succession of television credits, he continued to focus on the legitimate stage. A member of the Stanford Repertory Theatre, he concentrated on both classic and contemporary plays. In 1969, Paul joined the Inner City Cultural Center Theatre in Los Angeles for two years, which offered a drama program for high school students.
In the late 1960s, Paul redirected himself back to performing on television and in films with guest work in more than 40 series on the small screen, including a boyfriend role on the first season of the landmark black sitcom Julia (1968) starring Diahann Carroll. In films, he was given a featured role in the Sidney Poitier film The Lost Man (1969), and earned comparable roles in R.P.M. (1970) and Brother John (1971) before major stardom occurred.
1972 proved to be a banner year for Paul after winning the male lead opposite Cicely Tyson in the touching classic film Sounder (1972). His towering performance as a sharecropper who is imprisoned and tortured for stealing a ham for his impoverished family earned him an Oscar nomination for "Best Actor" -- the third black actor (Sidney Poitier and James Earl Jones preceded him) to receive such an honor at the time.
From there a host of films and quality television roles began arriving on his doorstep. In mini-movies, Paul portrayed various historical/entertainment giants including Thurgood Marshall, Don King and baseball's Roy Campanella, and was Emmy-nominated for his portrayal of Martin Luther King, Jr. in King (1978) with Sounder co-star Cicely Tyson as wife Coretta. Throughout the 1970s and 1980s, he earned solid distinction in such prestige projects as Backstairs at the White House (1979), Roots: The Next Generations (1979) (another Emmy nomination), The Sophisticated Gents (1981), The Blue and the Gray (1982), Sister, Sister (1982), James Baldwin's Go Tell It on the Mountain (1985), Under Siege (1986) and The Women of Brewster Place (1989).
Although the big screen did not offer the same consistent quality following his breakthrough with Sounder, he nevertheless turned in strong roles in Conrack (1974), Huckleberry Finn (1974), A Hero Ain't Nothin' But a Sandwich (1977) (again with Ms. Tyson), Damnation Alley (1977), Star Trek II: The Wrath of Khan (1982) and White Dog (1982).
Surprisingly, Paul never achieved the promise of a Sidney Poitier-like stardom and his roles diminished in size. Relegated to character roles, he still appeared in such quality television as Breathing Lessons (1994), although he was not the major focus. After two nominations, he finally won the Emmy for a guest performance as a judge on Picket Fences (1992). Paul's showier work at this period of time included the film Catfish in Black Bean Sauce (1999) and a surprise cross-dressing cameo as Aunt Matilda in Relax... It's Just Sex (1998).
On stage, Paul graced such productions as "Richard III" (at New York's Lincoln Center Theatre), "Othello", "The Merry Wives of Windsor", "The Seagull", "A Few Good Men", "Happy Endings" and "Checkmates", which became his sole Broadway credit. Paul also served as Artist in Residence at the University of Hawaii and subsequently at the University of California at Santa Barbara.
In his final years, Winfield narrated the A&E crime series City Confidential (1998), appeared as a teacher in a television adaptation of his earlier success Sounder (2003), and enjoyed a recurring role as Sam for many years on the series Touched by an Angel (1994).
Suffering from obesity and diabetes in later life, Paul Winfield passed away from a heart attack at age 64 in 2004, and was survived by a sister, Patricia. His longtime companion of 30 years, set designer and architect Charles Gillan Jr. predeceased him by two years.- Actor
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The son of Joseph Livesey and Mary Catherine (nee Edwards), Roger was educated at Westminster City School, London. His first stage appearance was the office boy in Loyalties at St. James' theatre in 1917. Subsequently, he played in everything from Shakespeare to modern comedies. He played various roles in the West End from 1920 to 1926. He toured the West Indies and South Africa the returned to join the Old Vic/Sadler's Wells company from September 1932 until May 1934. In 1936, he appeared in New York in the old English comedy "The Country Wife" and also married Ursula Jeans whom he had known previously in England. At the outbreak of war Roger and Ursula were among the first volunteers to entertain the troops before he volunteered for flying duties in the R.A.F. He was turned down as too old to fly so went to work in an aircraft factory at Desford aerodrome near Leicester to do his bit for the war effort. He was chosen by Michael Powell to play the lead in The Life and Death of Colonel Blimp (1943). This was shown in New York and established his international reputation as a brilliant character actor. He continued playing many theatrical roles during his film career from 1935 until 1969. Tall and broad with a luxurious mop of chestnut hair, Roger has (had) a deep voice, a gentle manner and the physique of an athlete. His favourite hobby is listed as "tinkering."- Actor
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Victor Jory was born in Dawson City, Yukon, Canada. His burly physique made him a wrestling and boxing champion during his military service in the United States Coast Guard. After a few appearances on Broadway, he made his way into Hollywood in the early 1930s. His acting career spanned exactly 50 years, during which he played in nearly 200 films and TV series. In his early years he was cast in romantic roles, but it wasn't long before he began playing villainous parts, likely due to his "black eyes" which could easily give the impression of intimidation. He is remembered for his role as the ruthless overseer Jonas Wilkerson in Gone With the Wind, and his role as Lamont Cranston in The Shadow. He also played Oberon in the 1935 film version of A Midsummer Night's Dream. Among these many co-starring roles, he also appeared in 7 Hopalong Cassidy films between the years 1941 and 1943, usually cast as the villain or a right hand man. The only Hopalong film in which he did not play a 'bad guy' was in Riders of the Timberlane where he played a hot blooded, broad-shouldered lumberjack. During his film career, Victor's voice also offered him the an extensive career in radio. He was the lead role in the radio series, Dangerously Yours, and he also narrated "Tubby the Tuba" and "Bumpo the Ballerina" for children. In the 1950s and 1960s, he began acting in television series while remaining in the film industry. He played the lead role of Detective Howard Finucane in the police drama series, Manhunt, which ran from 1959 to 1961. In 1962 he played Helen Keller's father in the film, The Miracle Worker, for which his co-stars Patty Duke and Anne Bancroft won Oscars. In 1964, he along with fellow actors Susan Seafourth and Coleen Gray testified before the United States Congress as part of Project Prayer, arguing in favor of an amendment which would restore school prayer, something which the United States had eliminated in the early 1960s. Victor Jory continued acting until he retired in 1980. He was married to Jean Inness Jory from 1928 until her death in 1978. Together they had two children, Jon and Jean. At age 79, Victor died of a heart attack on February 12, 1982, in Santa Monica, California.- Actor
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Born in London, England, John Gielgud trained at Lady Benson's Acting School and RADA, London. Best known for his Shakespearean roles in the theater, he first played Hamlet at the age of 26. He worked under the tutelage of Lilian Bayliss with friend and fellow performer Laurence Olivier and other contemporaries of the National Theatre at the "Old Vic", London. He made his screen debut in 1924. Academy Award Best Supporting Actor, 1981, for Arthur (1981), Academy Award Nomination, 1964, for Becket (1964).- Actor
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The son of a country chemist, the British actor Donald Sinden intended to pursue a career in architecture but was spotted in an amateur theatrical production and asked to join a company that entertained the troops during World War II (Sinden was rejected for naval service because of asthma). Following a brief training at drama school, he established himself in theater, particularly as a Shakespearean actor. Having made his film debut in The Cruel Sea (1953), Sinden became a leading man in British films during the 1950s and then moved onto character roles later in his career. While his film appearances became less frequent, he worked steadily in theater (with the Royal Shakespeare Company, primarily) and in television, notably as the unperturbable butler in Two's Company (1975) and as a miserable in-law in Never the Twain (1981).- Actor
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Frank Langella was born in Bayonne, New Jersey, to Angelina and Frank A. Langella, a business executive. He is of Italian descent.
A stage and screen actor of extreme versatility, Frank Langella won acclaim on the New York stage in "Seascape" and followed it up with the title role in the Edward Gorey production of "Dracula". He repeated the role for the screen in Dracula (1979) and became an international star. Over the years, he has done occasional films but prefers to concentrate on his first love, the legitimate theatre. His stage performance ranged from Strindberg drama ("The Father") to Noël Coward comedy ("Present Laughter"). He also appeared in several productions for the New York Shakespeare festival.