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Vintage postcard, no. A.X. 292. Photo: Metro-Goldwyn-Mayer.
Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).
Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparent's ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).
Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which includes True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."
Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals including On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing, and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120-degree weather as she sang 'Too Darn Hot', and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oilman Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in 'Mame'. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight-foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on the opening night of the musical show 'Anything Goes', Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanant vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in 'Sugar Babies' with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's 'Follies' at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, 'Miller's High Life', and more memoirs in 1981 with 'Tops In Taps'. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favourite pair of tap shoes, which she playfully nicknamed "Moe and Joe".
Sources: Steve Starr (The Entertainment Magazine), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Ann Arbor Dance Classics 2018 Recital on Saturday June 16th, 2018. These pictures are from the Solo Showcase that preceded the recital. The recital was held at Saline High School (Saline, Michigan). These are photos from my perch on Stage Right - stage managing again!
Cape Ann coastline in Massachusetts
More Rural images www.Baystatephotos.com
My stock portfolio www.istockphoto.com/user_view.php?id=1089514
Copyright 2018 by Denis Tangney Jr. All rights Reserved. No part of this website may be reproduced without permission from the author.
These are the surviving outfits from my second generation of Ann and Andy's wardrobe. I crafted all of the clothes featured in this photo, since I was more neat about drawing and coloring things in than Colleen. I believe the top row of outfits were all recreations of old ones that we threw out because they were drawn so badly. The top row showcases Ann and Andy's "Elvis" outfits, random play clothes, and their "prince and princess" costumes. The second row features their "sick day" clothes, their name outfits, and of course their artist ensembles (not that I recall either of them being artistically gifted). The last four outfits consist of their music playing attire, and then three sets of play clothes. The first set of play clothes, which is striped, was actually created by my sister.
The two sets of outfits on the bottom row are actually a very important part of my adult doll collection. I created them during the fall of 2010, before I had even restarted my doll hobby. At the time, my dad was very sick, and was still recovering from his cancer treatment and surgery. Colleen was finishing her last semester of college, and I had graduated from cosmetology school some months before. I stayed home to take care of Dad--make sure he took his medications, tested his blood sugar, didn't fall or get hurt, and made him food. I was nineteen years old and home bound almost all the time. Dad slept most days, because it was the only time he could get relief from his pain and suffering. That meant I spent all the hours he didn't need me, sitting around the house completely bored. After a few weeks, my iPod stopped being entertaining, and I was really sick of the television (maybe that's why I don't watch t.v. these days). Since high school, my low self esteem had crippled me from doing anything artistically inclined. But it was during these lonely hours that I finally worked up the nerve to break out my sketchbook, and my untouched art boxes that Dad had bought me for Christmas when I was fifteen. At first, I was too afraid to work on any actual projects, so I mostly just doodled random things and played around with my supplies. But then one day, I felt the urge to make paper doll clothes. I knew that Colleen and I never threw Ann and Andy out, so I set off on a quest to locate them in our trashed basement (which looked like a scary episode of "Hoarders" at the time). I found them in a set of white drawers with my old Mary-Kate and Ashley/Bratz posters, and other odds and ends from my old bedroom/old life. I took Ann and Andy upstairs, traced them, and created these two sets of outfits. That one action forever changed me. After that, I set out to redesign Ann and Andy's relatives, which eventually led to me designing paintings for my Disney dolls once I started collecting dolls again. Without these outfits, my earrings, headbands, doll stands, paintings, and all other artistic pursuits would be non-existent. These simple paper doll clothes reminded me of why I loved creating art in the first place!
Carol Ann is available for adoption as of this writing.
All of our cats from the past decade have come from Forgotten Felines & Fidos. It's a great shelter that allows you to meet with groups of cats at the same time in comfortable rooms. It makes it easier for a cat to pick its human.
Please visit the Forgotten Felines and Fidos website, especially if you are in the Lehigh Valley area and wish to adopt a kitty. Forgotten Felines and Fidos is a non-profit and a no-kill shelter that promotes fostering and adoption of cats & dogs in need of a furever home. They have an in-house Spay/Neuter Clinic and other services available.
portfolio shoot with model Ann in Lund, Sweden
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CF-ANN - de Havilland DH-82C Tiger Moth - Canadian Warplane Heritage Museum (CWHM)
at Hamilton International Airport (YHM)
Military markings: RCAF 4947
c/n 746 - built in 1941
The Museum's Tiger Moth was built at Downsview, Ontario and taken on strength with the RCAF on April 16, 1941. It was assigned to No. 2 Training Command in Winnipeg, Manitoba and was relegated to the status of an instructional airframe in December 1943. It was struck off service in July 1946, sold and until 1990, not much is known. In 1990, it was registered as CF-IME to Stanley Squires of Milestone, Saskatchewan and in 1992 as C-FIME to John and Sheila Squires of Weyburn, Saskatchewan. Bill Neelin of Camrose, Alberta purchased the aircraft in 1999 and completed a full restoration, registering his Tiger Moth as CF-ANN. It was subsequently purchased by Rob Fleck who operated it at Vintage Wings of Canada for a few seasons until he generously donated it to the Museum in March 2015.
British postcard in the Picturegoer Series, London, no. 436c. Photo: Radio Pictures.
Ann Harding (1902–1981) was an American film actress. She was signed by Pathe and made her debut, with Fredric March in Paris Bound (1929). She became a leading lady, and was nominated for the Oscar for Best Actress in 1931 for her work in Holiday (1930). She was the gentle, refined heroine as in The Animal Kingdom (1932), wherein she played Daisy, the rejected fiancée of Leslie Howard.
Ann Harding was born Dorothy Walton Gatley in San Antonio, Texas, in 1902. The daughter of Army captain George G. Gatley and his wife Elizabeth Walton Gatley, Ann spent a lot of time traveling around the US whenever her West Point-educated father was transferred. Moving to such places as Illinois, Kentucky, New Jersey, Cuba, and Pennsylvania made it very hard to put down roots. By the time the family settled in New York, Ann was well out of high school. Ann first appeared on the stage while she spent a year attending Bryn Mawr College. She became a clerk with the Metropolitan Life Insurance Co., her college education put aside owing to financial difficulties. she went to work as a freelance script reader with the film company Famous Players-Lasky. After attending a play in New York City, Ann discovered that the acting company was holding auditions for a part, and she decided to give it a try. To her surprise, she won a large part. She received critical acclaim for her role in 'Inheritors' (1921) and decided she would continue her budding career. Because her father opposed her career choice, she used the stage name, Ann Harding. For the next eight years, Ann performed in a variety of stage productions and became Broadway's bright new star. In 1929, Harding was signed by Pathe Studios and made her film debut as Mary Hutton in the Pre-Code early-talkie film Paris Bound (Edward H. Griffith. 1929), co-starring with Fredric March. Later that year she starred with her husband, Harry Bannister (whom she married in 1926 and divorced in 1932) in Her Private Affair (Paul L. Stein, 1929). The film was an enormous commercial success. Harding's performances were heralded by the critics, who cited her diction and stage experience as assets to the then-new medium of "talking pictures." Her role in Condemned! (Wesley Ruggles, 1929) opposite Ronald Colman, for which she was loaned out to United Artists, rounded out her work for that year. Back at Pathe, she starred in the romantic comedy Holiday (Edward H. Griffith, 1930), the film that solidified her image as an actress. During this period, she was generally considered to be one of cinema's most beautiful actresses, with her waist-length blonde hair being one of her most noted physical attributes. Next up was The Girl of the Golden West (John Francis Dillon, 1930), which again had her husband in the second role.
Ann Harding was a leading lady now. She was loaned out to Fox to play Lady Isabella in East Lynne (Frank Lloyd, 1931) opposite Clive Brook. During production, her husband would show up on the set and try to tell the director how to run the film. He was finally banned from the set, and it hastened the demise of Ann's marriage to him. She was the gentle, refined heroine as in The Animal Kingdom (Edward H. Griffith, 1932), wherein she played Daisy, the rejected fiancée of Leslie Howard. By 1933, her popularity started to decline as she appeared in a parade of tearjerkers as the beautiful, innocent, self-sacrificing woman, and film work became harder for her to obtain. After appearing in the British-made Love from a Stranger (Rowland V. Lee, 1937), she married conductor Werner Janssen. Ann took a five-year hiatus from acting, not appearing on-screen until Eyes in the Night (Fred Zinnemann, 1942) with Edward Arnold. After Christmas Eve (Edwin L. Marin, 1947), she appeared second-billed in Two Weeks with Love (Roy Rowland, 1950) starring Jane Powell and Ricardo Montalban, followed by The Unknown Man (Richard Thorpe, 1951) with Walter Pidgeon. Her final films were Strange Intruder (Irving Rapper, 1956) starring Edmund Purdom, and The Man in the Gray Flannel Suit (Nunnally Johnson, 1956), in which she appeared once again with Fredric March, the man with whom she started her career. She worked occasionally in television between 1955 and 1965, and she appeared in two plays in the early 1960s, returning to the stage after an absence of over 30 years. In 1962, she starred in 'General Seeger', directed by and co-starring George C. Scott, and in 1964 she appeared in 'Abraham Cochrane' and 'The Corn is Green'. After her 1965 retirement, she resided in Sherman Oaks, California. In 1981, Ann Harding passed away there, at age 79. Harding had a daughter, Jane (1928-2005) with her first husband, Harry Bannister. Their divorce in 1932 led to a year-and-a-half-long custody battle. Her second marriage, to Werner Janssen, ended in divorce in 1963. By this marriage, Harding had two stepchildren, Alice and Werner Jr. Harding began living with Grace Kaye, an adult companion, later known as Grace Kaye Harding. Harding referred to Kaye as her daughter. Following her death, Ann Harding was interred at Forest Lawn Memorial Park (Hollywood Hills) in Los Angeles, California, in the Court of Remembrance.
Sources: Tony Fontana (IMDb), Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by Editions P.I., no. 257. Photo: George Hurrell / Warner.
American actress and singer Ann Sheridan (1915-1967) worked from 1934 in film and later on television. She could both play the girl next door and the tough-as-nails dame. Known as the 'Oomph Girl', she became one of the most glamorous women in Hollywood. Her notable films include Angels with Dirty Faces (1938) with James Cagney and Humphrey Bogart, They Drive by Night (1940) with George Raft and Bogart, Nora Prentiss (1947), and I Was a Male War Bride (1949) with Cary Grant.
Clara Lou Sheridan was born in Denton, Texas, in 1915, as the youngest of five children of G.W. Sheridan and Lula Stewart Warren Sheridan, an automobile mechanic and his homemaker wife. She was a self-described tomboy and was very athletic, and played on the girl's basketball team for North Texas State Teacher's College, where she was planning to enter the teaching field. She was active in dramatics and also sang with the college's stage band. In 1932, her sister Pauline sent a photograph of Clara Lou in a bathing suit to Paramount Pictures. She subsequently entered and won the 'Search for Beauty' contest, with part of her prize being a screen test and a bit part in a film by that name. She left college to pursue a career in Hollywood and, aged 19, made her film debut in Search for Beauty (Erle C. Kenton, 1934), starring Buster Crabbe and Ida Lupino. For the next two years, she played uncredited bit parts in Paramount films, starting at $75 a week (equivalent to $1,400 in 2020). Sheridan can be glimpsed in 13 films in 1934, including Come On Marines! (Henry Hathaway, 1934) still billed as 'Clara Lou Sheridan', Murder at the Vanities (Mitchell Leisen, 1934), College Rhythm (Norman Taurog, 1934), and One Hour Late (Ralph Murphy, 1934). Sheridan worked with Paramount's drama coach Nina Mouise and performed plays on the lot with fellow contractees, including 'The Milky Way' and 'The Pursuit of Happiness'. 'When she did The Milky Way', she played a character called Ann and the Paramount front office decided to change her name to 'Ann'. Sheridan had a part in Behold My Wife! (1934), which she got at the behest of director Mitchell Leisen, who was a friend. She had two good scenes, one in which her character had to commit suicide. Sheridan attributed Paramount's keeping her for two years to this role. Twelve more bit parts followed in 1935 in such films as Enter Madame (Elliott Nugent, 1935) starring Elissa Landi and Cary Grant, the drama Home on the Range (Arthur Jacobson, 1935) starring Jackie Coogan, and Rumba (Marion Gering, 1935,) an unsuccessful follow-up to George Raft and Carole Lombard's smash hit Bolero (Wesley Ruggles, 1934). Sheridan's first lead came in Car 99 (Charles Barton, 1935) with Fred MacMurray. She had the female lead in Rocky Mountain Mystery (Charles Barton, 1935), a Randolph Scott Western. She then appeared in Mississippi (A. Edward Sutherland, 1935) with Bing Crosby and W.C. Fields, The Glass Key (Frank Tuttle, 1935) with George Raft, and (having one line) the historical adventure The Crusades (Cecil B. DeMille, 1935) with Loretta Young. Paramount lent her out to Talisman, a small production company, to make the Western The Red Blood of Courage (John English, 1935) with Kermit Maynard. After this, Paramount declined to take up her option. Sheridan did one film at Universal, Fighting Youth (Hamilton MacFadden, 1935) with Charles Farrell, and then signed a contract with Warner Bros. in 1936.
Ann Sheridan's career prospects began to improve. Her early films for Warner Bros. included the musical Sing Me a Love Song (Ray Enright, 1936), and the crime drama Black Legion (Archie Mayo, 1937) with Humphrey Bogart. Her first real break came in the crime film The Great O'Malley (William Dieterle, 1937) with Pat O'Brien and Bogart. She sang for the first time in San Quentin (Lloyd Bacon, 1937), with O'Brien and Bogart. Sheridan then moved into B picture leads such as The Footloose Heiress (William Clemens, 1937), Alcatraz Island (William C. McGann, 1937) with John Litel, and She Loved a Fireman (John Farrow, 1937) with Dick Foran for director John Farrow. She was a lead in The Patient in Room 18 (Bobby Connolly, Crane Wilbur, 1937) and its sequel Mystery House (Noel M. Smith, 1938). Sheridan was in Little Miss Thoroughbred (John Farrow, 1938) and supported Dick Powell in Cowboy from Brooklyn (Lloyd Bacon, 1938). Universal borrowed her for a support role in Letter of Introduction (1938) at the behest of director John M. Stahl. For John Farrow, she was in Broadway Musketeers (1938), a remake of Three on a Match (Mervyn LeRoy, 1932). Sheridan's notices in Letter of Introduction impressed Warner Bros. executives. She began to get roles in A pictures, starting with the gangster film Angels with Dirty Faces (Michael Curtiz, 1938), wherein she played James Cagney's love interest; Bogart, O'Brien and the Dead End Kids had supporting roles. The film was a big hit and critically acclaimed. Sheridan was reunited with the Dead End Kids in They Made Me a Criminal (Busby Berkeley, 1938) starring John Garfield. She was third-billed in the Western Dodge City (Michael Curtiz, 1939), playing a saloon owner opposite Errol Flynn and Olivia de Havilland. The film was another notable success. In March 1939, Warner Bros. announced Sheridan had been voted by a committee of 25 men as the actress with the most "oomph" in America. Oomph" was described as "a certain indefinable something that commands male interest." She received as many as 250 marriage proposals from fans in a single week. Now tagged 'The Oomph Girl'—a sobriquet which she reportedly loathed —Sheridan was a popular pin-up girl in the early 1940s. She was top-billed in Indianapolis Speedway (Lloyd Bacon, 1939) with Pat O'Brien and Angels Wash Their Faces (Ray Enright, 1939) with O'Brien, the Dead End Kids and Ronald Reagan. Castle on the Hudson (Anatole Litvak, 1940) put her opposite John Garfield and Pat O'Brien.
Ann Sheridan's first real starring vehicle was It All Came True (Lewis Seiler, 1940), a musical comedy co-starring Humphrey Bogart and Jeffrey Lynn. She introduced the song 'Angel in Disguise'. Sheridan and James Cagney were reunited in Torrid Zone (William Keighley, 1940) with Pat O'Brien in support. She was with George Raft, Bogart and Ida Lupino in the Film Noir They Drive by Night (Raoul Walsh, 1940), a trucking melodrama. She was in a lot of comedies and a number of forgettable films, but the public liked her, and her career flourished. Sheridan was back with Cagney for City for Conquest (Anatole Litvak, 1941) and then made Honeymoon for Three (Lloyd Bacon, 1941), a comedy with George Brent. Sheridan did two lighter films: Navy Blues (Lloyd Bacon, 1941), a musical comedy, and The Man Who Came to Dinner (William Keighley, 1941), wherein she played a character modeled on Gertrude Lawrence. She then made Kings Row (Sam Wood, 1942), in which she received top billing playing opposite Ronald Reagan. It was a huge success and one of Sheridan's most memorable films. Sheridan and Reagan were reunited for Juke Girl (Curtis Bernhardt, 1942). She was in the war film Wings for the Eagle (Lloyd Bacon, 1942) and made a comedy with Jack Benny, George Washington Slept Here (William Keighley, 1943). She played a Norwegian resistance fighter in Edge of Darkness (Lewis Milestone, 1943) with Errol Flynn and was one of the many Warners stars who had cameos in Thank Your Lucky Stars (David Butler, 1943). She was the heroine of a novel, 'Ann Sheridan and the Sign of the Sphinx', written by Kathryn Heisenfelt and published by Whitman Publishing Company in 1943. While the heroine of the story was identified as a famous actress, the stories were entirely fictitious. The story was probably written for a young teenaged audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as 'Whitman Authorized Editions', 16 books published between 1941 and 1947 that always featured a film actress as heroine. Sheridan was given the lead in the musical Shine On, Harvest Moon (David Butler, 1944), playing Nora Bayes, opposite Dennis Morgan. She was in a comedy The Doughgirls (James V. Kern, 1944). Sheridan was absent from screens for over a year, touring with the USO to perform in front of the troops as far afield as China. She returned in One More Tomorrow (Peter Godfrey, 1946) with Morgan. She had an excellent role in the Film Noir Nora Prentiss (Vincent Sherman, 1947), which was a hit. It was followed by The Unfaithful (Vincent Sherman, 1948), a popular remake of the crime drama The Letter (William Wyler, 1940) starring Bette Davis, and Silver River (Raoul Walsh, 1948), a Western melodrama with Errol Flynn. Leo McCarey borrowed her to support Gary Cooper in Good Sam (Leo McCarey, 1948). She then left Warner Bros., saying: "I wasn't at all satisfied with the scripts they offered me." Her role in the screwball comedy I Was a Male War Bride (Howard Hawks, 1949), co-starring Cary Grant, was another success at Fox. In 1950, she appeared on the musical television series Stop the Music, and in Stella (Claude Binyon, 1950), a comedy with Victor Mature.
Ann Sheridan made Woman on the Run (Norman Foster, 1950), a Film Noir, which she also produced. Woman on the Run was distributed by Universal, and Sheridan signed a contract with that studio. While there, she made Steel Town (George Sherman, 1952), Just Across the Street (Joseph Pevney, 1952), and Take Me to Town (1953), a comedy directed by Douglas Sirk. Sheridan supported Glenn Ford in Appointment in Honduras (Jacques Tourneur, 1953). She appeared opposite Steve Cochran in Come Next Spring (R. G. Springsteen, 1956) and was one of several stars in MGM's The Opposite Sex (David Miller, 1956). Her last film, The Woman and the Hunter (George P. Breakston, 1957), was shot in Africa. Sheridan later said she wished the movie "had been lost somewhere in Kenya". She went to New York to appear in a Broadway show, but it did not make it to Broadway. She did stage tours of 'Kind Sir' (1958) and 'Odd Man In' (1959), and 'The Time of Your Life at the Brussels World Fair' in 1958. In all three shows, she acted with Scott McKay, whom she later married. In 1962, she played the lead in The Mavis Grant Story on the Western series Wagon Train. In the mid-1960s, Sheridan appeared on the NBC soap opera Another World (1965-1966). Her final work was a TV series of her own, a comedy Western entitled Pistols 'n' Petticoats (1966-1967). Her career was taking off again, but the success was short-lived. The 19th episode of the series, Beware the Hangman, aired, as scheduled, on the same day that she died. Sheridan had married actor Edward Norris in 1936, in Ensenada, Mexico. They separated a year later and divorced in 1939. In 1942, she married fellow Warner Bros. star George Brent, who co-starred with her in Honeymoon for Three (Lloyd Bacon, 1941). They divorced exactly one year later. Following her divorce from Brent, she had a long-term relationship with publicist Steve Hannagan, that lasted until his death in 1953. Hannagan’s estate bequeathed Miss Sheridan $218,399 ($2.1 million in current dollars). On 5 June 1966, she married actor Scott McKay, who was with her when she passed away, six months later. She died of gastroesophageal cancer with massive liver metastases at age 51 in 1967, in Los Angeles. She was cremated and her ashes were stored at the Chapel of the Pines Crematory in Los Angeles until they were interred in a niche in the Chapel Columbarium at the Hollywood Forever Cemetery in 2005. For her contributions to the film industry, Ann Sheridan has a star on the Hollywood Walk of Fame at 7024 Hollywood Boulevard.
Sources: Tony Fontana (IMDb), Denny Jackson (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
portfolio shoot with model Ann in Lund, Sweden
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Preserved Sentinel steam locomotive Ann, works number 7232 shunts wagons at Castlecroft on the East Lancashire Railway. 17th March 2023
Trabajar con "Ann Psick" siempre es un placer...
Aquí su Blog: annpsickblog.blogspot.com.es/2013/06/isbel-marant.html
Vintage postcard.
American actress Ann Sothern (1909-2001) had a career on stage, radio, film, and television, that spanned nearly six decades. In 1939, MGM cast her as Maisie Ravier, a brash yet lovable Brooklyn showgirl, which lead to a successful film series. In 1953, Sothern moved into television as the star of her own sitcom Private Secretary. In 1987, Sothern appeared in her final film The Whales of August, and earned her only Oscar nomination for Best Supporting Actress.
Ann Sothern was born Harriette Arlene Lake in 1909 in Valley City, North Dakota. She was the oldest of three daughters born to Walter J. Lake and Annette Yde. Her two younger sisters were Marion and Bonnie. Annette Yde was a concert singer, while Sothern's father worked in importing and exporting. Harriette and her sisters were raised in Minneapolis, Minnesota. Her parents separated when she was four years old (they would later divorce in 1927). At the age of five, she began taking piano lessons. She later studied at the McPhail School of Music, where her mother also taught piano. She also began accompanying her mother on her concert tours when her school schedule permitted. By age 11, she had become an accomplished pianist and was singing solos in her church choir. At age 14, she began voice lessons and also continued to study piano and music composition. As a teen at Minneapolis Central High School, she appeared in numerous stage productions and also directed several shows. While visiting her mother in California, she won a role in the Warner Bros. revue The Show of Shows. She did a screen test for MGM and signed a six-month contract. Her film career started as an extra in Broadway Nights (Joseph Boyle, 1927). She worked as an extra for the next six years. It barely paid the bills. As a singer, she performed with Artie Shaw and His Orchestra. She was also a published songwriter and recorded two albums.
Originally a redhead, Ann Sothern began to bleach her hair blonde for comedy roles. After working at MGM and on Broadway, Ann was signed by Columbia Pictures for Let's Fall in Love (David Burton, 1933). Harry Cohn changed her name to Ann Sothern. The next year she would work with Eddie Cantor in his hit Kid Millions (Roy Del Ruth, 1934). Sothern would be in 11 "B" pictures until she was dropped by Columbia in 1936. She then went to RKO, where the quality of her films did not improve. She appeared in a series of "B' films such as Dangerous Number (Richard Thorpe, 1937) and She's Got Everything (Joseph Santley, 1937) with Gene Raymond, but her career was going nowhere. In 1938 she left RKO and played Jean Livingstone, the tart in Trade Winds (Tay Garnett, 1938), starring Fredric March and Joan Bennett, which got her a contract at MGM. She was given the lead in Maisie (Edwin L. Marin, 1939), a "B" comedy about a brassy, energetic showgirl, not a salesgirl - a role originally intended for Jean Harlow. The character was based on the Maisie short stories by Nell Martin. Maisie (Edwin L. Marin, 1939) became a huge hit and spawned a series of ten films with the last being Undercover Maisie (Harry Beaumont, 1947). The popularity of the film series led to her own radio program, 'The Adventures of Maisie', broadcast on CBS from 1945 to 1947.
Ann Sothern also appeared in such well-received features as Brother Orchid (Lloyd Bacon, 1940) with Edward G. Robinson, Cry 'Havoc' (Richard Thorpe, 1943) with Margaret Sullavan and Joan Blondell, and A Letter to Three Wives (Joseph L. Mankiewicz, 1949) with Linda Darnell and Jeanne Crain. During the 1950s, she played in only four films, including Fritz Lang's Film Noir The Blue Gardenia (1953) with Anne Baxter. By this time, however, Sothern had turned to the relatively new medium - television, where she would attract legions of new fans. She played the meddlesome Susie in the TV series Private Secretary (1953). Sothern was nominated for a Primetime Emmy Award for her role in the series four times. The series was cancelled in 1957 and Ann came back in The Ann Sothern Show (1958-1961). After The Ann Sothern Show ended, she returned to the cinema in The Best Man (Franklin J. Schaffner, 1964), opposite Henry Fonda. She was nominated for Best Supporting Actress Golden Globe for her work in the film. In 1965, she had a recurring role on her friend Lucille Ball's The Lucy Show as the "Countess Framboise" (née Rosie Harrigan). She also would be the voice of the 1928 Porter in the camp classic My Mother the Car (1965). This TV series was about a man (Jerry Van Dyke) who bought a 1928 Porter and, lo and behold, it was "Mom". The 1970s and 1980s were relatively quiet for Ann. She appeared in some B-films like the horror film The Killing Kind (Curtis Harrington, 1973) as the mother of psycho John Savage, but finally, she would be nominated for an Academy Award for her role as the neighbour of Lillian Gish and Bette Davis in The Whales of August (Lindsay Anderson, 1987). After, she lived in quiet retirement in Ketcham, Idaho near her daughter and granddaughter, until her death of heart failure at 92. Ann Sothern passed away in 2001 in Ketchum, Idaho.
Sources: Tony Fontana (IMDb), Denny Jackson (IMDb), Wikipedia and IMDb.
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Pepper Ann does this to me at least once a day when I’m working. She also lets me scritch her tummy, so it’s a perfect break from work.
May 2023
Session II; also take a look at her stuff!
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I am excited to announce that I currently have a solo exhibition of my photography at the Ann Arbor Art Center Spotlight Gallery, July 18 - August 18, 2024, in Ann Arbor, Michigan, USA.
Please follow the link for additional information: www.annarborartcenter.org/ann-arbor-abstractions/
If you can’t make it to the gallery you can see all the images in the exhibition in the following album: flic.kr/s/aHBqjBzNYJ