View allAll Photos Tagged Actor
As a supplement to the Unsung Joe piece on Franklin Parker, a bit-part actor who had tiny roles as newspaper reporters in 30 or so films in the 30s and 40s, here's a front-page news story from 1938 that he featured in, which represents the peak of his fame.
The movie star of the headline is Lyle Talbot, a B-movie actor who you probably haven't heard of (I certainly hadn't). He was in "Plan 9 From Outer Space" (1959), though, so he probably counts as one of Hollywood's immortals.
Franklin and Lyle, both Nebraska boys, had met when Lyle was the leading man in the stock theatre company in Lincoln, Nebraska. Their friendship survived the transition to Hollywood and the fact that Lyle got plenty of decent work while Franklin made do with walk-ons.
Here's what appeared under that headline in the October 25, 1938, edition of the Centralia Daily Chronicle:
"BEVERLY HILLS, Calif -- Trapped by fire on the second floor of his pretentious home here early today, Lyle Talbot, handsome leading man of the films, and his house guest, Franklin Parker, also an actor, leaped to safety early today.
They were taken to the Beverly Hills receiving hospital suffering painful burns. Their condition was declared by attendants to be serious."
Did 'pretentious' have a different meaning in 1938? If not, that would seem to be a needlessly harsh thing to say about the house of a guy who's lying in hospital with serious burns. The article continued:
"Talbot's hair was burned from his scalp and Parker's back was severely burned. The house was nearly demolished by the flames after the pair made their 20-foot leap ... Police theorized the fire may have been started by a burning cigarette, left in the living room. Talbot had entertained last night, authorities said they had learned, but all of the guests except Parker had left the home when the fire broke out."
The following day's papers carried another AP wire story about Parker and Talbot, to which the Galveston Daily News gave the headline: "Burns Inflicted Rescuing Friend From Fire May End Talbot's Screen Career". The story read:
"The red badge of courage belonged tonight to Screen Actor Lyle Talbot, hero of a fire that destroyed his $50,000 home, but the penalty of his heroism probably is a blighted screen career.
Talbot's hands, neck, arms and head were burned so severely he may never appear again before the cameras. He saved the life of his house guest, Franklin D Parker, also an actor, by dragging him from a fiery, smoke-filled bedroom to a second-storey ledge and safety.
Witnesses saw Talbot, trapped on the second floor by flames that started at ground level, trying desperately to drag Parker's unconscious form out on a porch roof from a bedroom. Talbot, choking with smoke, his pajamas aflame, finally got Parker to safety and then leaped 20 feet to the ground to assist firemen who had been summoned by neighbors.
The condition of both men was critical, said physicians at Cedars of Lebanon Hospital."
The story went on to say that Talbot's wife was staying with a friend whose husband was out of town (so perhaps the party at Talbot's house had been a sort of gals-free stag-do sort of affair) and then recounted Talbot's career to date, noting that his last role was in "I Stand Accused" (1938), in which he played a gangster "and met the usual screen death at the hands of the law."
Of Franklin, it said only: "Parker played on the New York stage several years ago. He has had several bit roles and a few featured parts since coming to Hollywood."
Franklin Parker: even when he makes the front page, it's in a bit part.
It seems that the pair's burns were less serious than they appeared to be, because they both continued to work as steadily as they had ever done, and photographs of Lyle Talbot in later years show him with a full head of hair and no visible scars.
Franklin died of a heart attack in 1962, at the age of 60, and Lyle lived until he was 92, in 1996, when he died of 'natural causes'.
Thank you for viewing my images.
Positive comments are welcome, innuendo is not!
You can also follow me on:
Facebook www.facebook.com/RobHarrisPhotography/
Instagram www.instagram.com/harristotle_65
Nique sa mere le Hollywood des années 60, les reconstitutions à la mad men, et les bars fakeplastic-vintage.
Romanian postcard by Casa Filmului ACIN.
American actor Charles Bronson (1921-2003) was the archetypal screen tough guy with weatherbeaten features. He was a man of few words but much action in hits like Machine-Gun Kelly (1958), The Magnificent Seven (1960) and The Dirty Dozen (1967). But our favourite is the iconic Spaghetti Western C'era una volta il West/Once Upon a Time in the West (1968).
Charles Bronson was born Charles Buchinsky, in Ehrenfeld, Pennsylvania, in 1921. He was one of 15 children of struggling parents. His mother, Mary (Valinsky), was born in Pennsylvania, to Lithuanian parents, and his father, Walter Buchinsky, was a Lithuanian immigrant coal miner. He completed high school and joined his father in the mines and then served in WW II. After his return from the war, Bronson used the GI Bill to study art, then enrolled at the Pasadena Playhouse in California. One of his teachers was impressed with the young man and recommended him to director Henry Hathaway, resulting in Bronson making his film debut in You're in the Navy Now (1951). He appeared on screen often early in his career, though usually uncredited. However, he made an impact on audiences as the evil assistant to Vincent Price in the 3-D thriller House of Wax (Andre de Toth, 1953). His sinewy yet muscular physique got him cast in action-type roles, often without a shirt to highlight his manly frame. He received positive notices from critics for his performances in Vera Cruz (Robert Aldrich, 1954), Target Zero (Harmon Jones, 1955) and Run of the Arrow (Samuel Fuller, 1957) with Rod Steiger and Sara Montiel. Indie director Roger Corman cast him as the lead in his well-received low-budget gangster flick Machine-Gun Kelly (1958), then Bronson scored the lead in his own TV series, Man with a Camera (1958-1960).
The 1960s proved to be the era in which Charles Bronson made his reputation as a man of few words but much action. Director John Sturges cast him as half Irish/half Mexican gunslinger Bernardo O'Reilly in the smash hit Western The Magnificent Seven (1960) with Yul Brynner, and hired him again as tunnel rat Danny Velinski for the WWII POW big-budget epic The Great Escape (1963), starring Steve McQueen. Several more strong roles followed, then once again he was back in military uniform, alongside Lee Marvin and Ernest Borgnine in the testosterone-filled The Dirty Dozen (Robert Aldrich, 1967). European audiences had taken a shine to his minimalist acting style, and he headed to the Continent to star in several action-oriented films, including La bataille de San Sebastian/Guns for San Sebastian (Henri Verneuil, 1968), the cult western C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968) opposite Claudia Cardinale, Le passager de la pluie/Rider On The Rain (René Clément, 1970) with Jill Ireland, the Western Soleil rouge/Red Sun (Terence Young, 1971) alongside Japansese screen legend Toshirô Mifune and Ursula Andress, and The Valachi Papers (Terence Young, 1972) with Lino Ventura and Jill Ireland, who had become his wife in 1968.
Charles Bronson returned to Hollywood in the early 1970s to take the lead in the revenge Western Chato's Land (Michael Winner, 1972) and the crime film The Mechanic (Michael Winner, 1972). After nearly 25 years as a working actor, he became an 'overnight sensation'. Bronson and British director Michael Winner made more highly successful urban crime thrillers, such as The Stone Killer (1973). He then scored a solid hit as a Colorado melon farmer-done-wrong in the Elmore Leonard adaptation Mr. Majestyk (Richard Fleischer, 1974). However, the film that proved to be a breakthrough for both Bronson and Winner was the controversial Death Wish (Michael Winner, 1974). IMDb: "The US was at the time in the midst of rising street crime, and audiences flocked to see a story about a mild-mannered architect who seeks revenge for the murder of his wife and rape of his daughter by gunning down hoods, rapists and killers on the streets of New York City. So popular was the film that it spawned four sequels over the next 20 years." Possibly his best role was the Depression-era street fighter Chaney in Hard Times (Walter Hill, 1975) alongside James Coburn. That was followed by the Western Breakheart Pass (Tom Gries, 1975) with Jill Ireland, the light-hearted romp From Noon Till Three (Frank Gilroy, 1976) and as Soviet agent Grigori Borsov in the Cold War thriller Telefon (Don Siegel, 1977) with Lee Remick. Bronson remained busy throughout the 1980s, with most of his films taking a more violent tone. Bronson jolted many critics with his forceful work as murdered United Mine Workers leader Jock Yablonski in the TV movie Act of Vengeance (John Mackenzie, 1986) opposite Ellen Burstyn, and gave an interesting performance in The Indian Runner (Sean Penn, 1991) starring David Morse and Viggo Mortensen. He surprised many as compassionate newspaper editor Francis Church in the family film Yes Virginia, There Is a Santa Claus (Charles Jarrott, 1991). Ill health began to take its toll; Charles Bronson suffered from Alzheimers disease for the last few years of his life, and finally passed away from pneumonia at Los Angeles' Cedars-Sinai Medical Center in 2003.
Source: IMDb.
Tony Award-winning actor Annaleigh Ashford joined fellow Broadway Coloradans Beth Malone ("Fun Home") and Mara Davi ("Dames at Sea" for "United in Love," a special concert event benefiting the Denver Actors Fund on April 30 at the Lone Tree Arts Center. The three were "back to give back," joined by powerhouse singer, actor and First Lady of Denver Mary Louise; Broadway’s Jodie Langel ("Les Misérables"); composer Denise Gentilini ("I Am Alive") and Denver performers Jimmy Bruenger, Eugene Ebner, Becca Fletcher, Clarissa Fugazzotto, Robert Johnson, Daniel Langhoff, Susannah McLeod, Chloe McLeod, Sarah Rex, Jeremy Rill, Kristen Samu, Willow Samu, Thaddeus Valdez, and the casts of both "The Jerseys" (Klint Rudolph, Brian Smith, Paul Dwyer and Randy St. Pierre), and the all-student cast of the upcoming "13 the Musical" (Rylee Vogel, Josh Cellar, Hannah Meg Weinraub, Hannah Katz, Lorenzo Giovannetti, Maddie Kee, Kaden Hinkle, Darrow Klein, Evan Gibley, Conrad Eck and Macy Friday). The purpose of the evening was to spread a message of love and hope while raising funds for the Denver Actors Fund, which has made $90,000 available to local theatre artists facing situational medical need. The concert was presented by presented by Ebner-Page Productions. Photos by RDG Photography, Gary Duff and DCPA Senior Arts Journalist John Moore, also the founder of the Denver Actors Fund. For more information, go to www.denveractorsfund.org
you can see more photos from this page.
தமிழ் கவிதைகள்.
www.facebook.com/Tamilkavithaigalimages
Tamil Actors Wallpapers
Italian postcard by G. Vettori, Bologna, no. 237.
Cecyl Tryan (1897-?) had a prolific career in the Italian silent cinema, from 1913 until the late 1920s. She first starred at Cines, later also at companies like Gladiator Film and Fert.
Cecyl Tryan was born in 1897, in Saint-Julien, France. She started out in the theatre, e.g. performing in Louis Aubert's 'La foret bleue' (1913). Then she had a prolific career in Italian silent cinema, from 1913 until the late 1920s. She acted at Cines from 1913, first in secondary parts in dramas but also in comedies with Kri Kri (Raymond Dandy) ). She joined the cast & crew of Cines sent to Spain to film there (e.g. Carmen, Giovanni Doria, Augusto Turqui, 1914) and became protagonist in two medium-length films by Augusto Genina, the comedy La moglie di Sua Eccellenza and the drama Catena spezzata. In the years 1914 Genina and Enrico Guazzoni had her act in a few features with Pina Menichelli (I misteri del castello di Monroe, Genina 1914; Alla deriva, Guazzoni 1915), while Nino Oxilia did the same in one film with Lyda Borelli. While her acting was overshadowed by the two divas, she still played memorable roles such as in Nino Oxilia's touching melodrama Fior di male (Nino Oxilia, 1914). Here she plays Borelli's delicate foster daughter who marries the man (Ruggero Barni) Borelli has cared to after his car accident. Not recognizing the love of Borelli's character, the man falls in love with the daughter and with pain in her heart the mother gives them her blessing. While continuing in supporting parts at Cines, Tryan also acted as protagonist at companies like Fulgor (L'impossibile, Guglielmo Zorzi 1915), Gloria (La danzatrice mascherata, Pier Antonio Gariazzo 1916), and Pasquali (La madre folle, Domenico Gaido 1916).
By the late 1910s Tryan acted more often in adventure and action films, at Ambrosio in in Il siluramento dell'Oceania (Genina, 1917) also with Alfredo Boccolini and Ileana Leonidoff, La spirale della morte (Filippo Costamagna, Domenico Gambino, 1917) the debut of Luciano Albertini in film, and Galaor (Emilio Graziani-Walter or Mario Restivo, 1918), with Alfredo Boccolini. After two more dramas in 1919 at Cines and one by Gianpaolo Rosmino at Aristos (Per la sua bocca, 1919), Tryan acted in various films at Gladiator Film in 1919-1920, often directed by Giuseppe De Liguoro, such as Anna (1920), based on a story by Henryk Sienkiewicz. At Gladiator she was often paired with actor Guido Trento. In 1921-1922 Tryan was active at the company FERT in Turin and Rome directed by men like Doria, Righelli, Zorzi, Giuseppe Sterni and Augusto Genina. A good example from this time is Il richiamo (Gennaro Righelli, 1921) starring Maria Jacobini and Lido Manetti. In 1924 Tryan also had her own company Cecyl Tryan Film, for which she made only one film, though: Il barcaiuolo d'Amalfi (Telemaco Ruggeri, 1924) with Livio Pavanelli and herself. Ruggeri afterward directed Pavanelli and Tryan again in La muta di Portici, and coupled her with Gustavo Serena in Il pane altrui. In Marco Visconti (Aldo de Benedetti, 1925) she played a double role of mother and daughter, while she also acted in La via del peccato (Amleto Palermi, released 1925). Her last part in Italian silent cinema was in Maciste contro lo sceicco (Mario Camerini, 1926). Supposedly she was the only actress with whom Pagano fraternized, as he was not fond of the exalted divas. After one French silent film, La venenosa (Roger Lion, 1928) starring Raquel Meller, Tryan played a handful of small parts in the Italian sound films of the 1930s. She played e.g. a seamstress in Pergolesi (Guido Brignone, 1932) with Elio Steiner in the title role, a society lady in T'amerò sempre (Mario Camerini, 1933) starring Elsa De Giorgi, and a Turinese aristocrat in Cavalleria (Goffredo Alessandrini, 1936), starring Amedeo Nazzari and Elisa Cegani. Her last (bit) part Tryan played after the war in the Italo-French-American coproduction Difendo il mio amore (Giulio Macchi, 1956) starring Martine Carol. It is unknown when and where Cecyl Tryan died.
Sources: Aldo Bernardini, Cinema muto italiano protagonisti. Italian Wikipedia, IMDb.
And, please check out our blog European Film Star Postcards.
Geoff was one of the foremost and well respected actors of his generation, he had studied at some of the best theatre schools in the garden and had in fact appeared throughout the known world in stage and screen. He was known for his ability to get into the character and immerse himself totally in the persona of the insects he portrayed, I guess you would call him a method actor. Geoff had even been known to carry the character through into his home life, much to the dismay of his friends and neighbours when he played a serial killer or mass murderer. They forgave him though, Geoff was a magnet to lady flies and even though the life expectancy for one of Geoff's friends was alarmingly short, it was a glorious way to go. Geoff's most famous film was called "The Man" in which he played a mad scientist who was experimenting with teleportation and his DNA got mixed up with that of a human. Geoff's character started to lose his exoskeleton, wash occasionally and eat solid food that hadn't been vomited on! He also became duplicitous, conniving and generally a bad fly. The box office receipts were phenomenal as flies queued to see the horror of Geoff's character slowly turning into a human, flies were horrified by the mere thought that this could actually happen. It had been a few days since Geoff's heyday and his "tour de force" movie but it still earned him royalties and accolades for his performance. Geoff would retire happy secure in the knowledge that he had been a part of the biggest movie of his generation and even though "The man 2 - return of the soft skin" was now in production with a new and younger actor, he knew that the classic first film would always be the best.
I think these people are practicing for some kind of theatrical performance. Either that, or this is actually a play, and those two people are standing on some kind of set. Notice the total lack of pictures on the wall, and the fact that out the window there is...nothing at all.
French postcard by Editions P.I., Paris, offered by Les Carbones Korès, no. 343, 1953. Photo: Warner Bros.
American film, stage and television actor Joseph Cotten (1905-1994) achieved prominence on Broadway, starring in the original stage productions of The Philadelphia Story and Sabrina Fair. He first gained worldwide fame in the Orson Welles films Citizen Kane (1941), The Magnificent Ambersons (1942), and Journey into Fear (1943), for which Cotten was also credited with the screenplay. He went on to become one of the leading Hollywood actors of the 1940s, appearing in films such as Shadow of a Doubt (1943), Duel in the Sun (1946) and The Third Man (1949). One of his final films was Michael Cimino's epic Heaven's Gate (1980).