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Tragic Actor
Ivory, AD 1-200
This intricate statuette represents an actor in the middle of a tragic performance. His pose and gestures are strongly expressive. Behind the mask, with its elaborate hairstyle and deep frown, the eyes and mouth are visible. The tunic is carefully rendered and he wears raised platform shoes called cothurni. Nero focused on performing demanding tragic roles, and wore similar outfits during his performances.
[British Museum]
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum
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
Spanish postcard by CyA, no. 45. Photo: Warner Bros. Van Williams in the TV series Surfside 6 (Charles R. Rondeau, a.o., 1960-1962). The Spanish title was Rompeolas.
Hunky American film and TV actor Van Williams (1934-2016) was best known for his leading role as Kenny Madison in both Warner Bros. television detective series Bourbon Street Beat (1959–1960) and its sequel, Surfside 6 (1960–1962). For one season, he starred as the title character in the television series The Green Hornet (1966–1967), with Bruce Lee as his partner Kato.
Van Zandt Jarvis Williams was born in 1934 in Fort Worth, Texas. Williams grew up on a ranch outside Fort Worth and later studied cattle farming at Texas Christian University. He and the famous singer/songwriter Townes Van Zandt were cousins. He moved to Hawaii in 1956 after differences with his father on how the ranch should be run. He worked there as a scuba diving instructor. His clients included film producer Mike Todd and his then-wife Elizabeth Taylor. Todd noticed Williams' good looks and suggested he pursue an acting career. Williams first went to college and got a degree. Todd died in a plane crash in 1958, but Williams followed his advice, moved to Hollywood and took voice and acting lessons. He managed to get cast in episodes of General Electric Theatre (1958-1959), Lawman (1959) and Colt .45 (1959) and played minor theatre roles, including engagements on Broadway. Warner Brothers had a keen eye for photogenic hunks like Williams and signed him in 1959 for their television division. He was irresistible as the clean-cut private eye Kenny Madison on the Detective series Bourbon Street Beat (1959-1960), set in New Orleans. Although the show lasted only one season, Warner Bros carried his Kenny Madison character into the more popular adventure drama Surfside 6 (1960-1962) about a Miami Beach detective agency set on a houseboat. His new colleagues were played by Troy Donahue, Lee Patterson, Diane McBain, and Margarita Sierra. Surfside 6 was one of four detective TV series produced by Warner Bros. around that time, the others being 77 Sunset Strip (set in Los Angeles), Hawaiian Eye (set in Hawaii), and the aforementioned Bourbon Street Beat (set in New Orleans). Plots, scripts (changing the names and locales), characters, and almost everything else crossed over from one series to another, not a difficult feat since they were all actually shot on the studio's backlots in Los Angeles. Williams also briefly appeared in the film Tall Story (Joshua Logan, 1960) as a smug jock stepping stark naked out of the men's locker room shower, giving a young Jane Fonda quite an eyeful of him, comically saying: "If it is alright with you, it is alright with me".
During the run of Surfside Street, Van Williams occasionally guest-starred on other Warner Bros shows, such as Cheyenne (1962) and 77 Sunset Strip (1961-1962). He appeared with Jack Webb in an anti-communist short, Red Nightmare / Freedom and You (George Waggner, 1962), produced for and financed by the Department of Defence during the Cold War. Williams also starred in a World War II television pilot titled The Leathernecks (1962), broadcast as an episode of The Gallant Men. He also appeared as a young doctor in the film The Caretakers (Hall Bartlett, 1963) starring Robert Stack and Joan Crawford. When his contract expired at Warner, Van Williams tried a comedy series next, The Tycoon (1964-1965). Walter Brennan starred as a busy, self-made millionaire, and Williams was his young assistant. Williams was signed to the series to provide the romantic interest, and he took the part to learn comedy. He worked in television commercials and guest appearances on various television series such as The Dick Van Dyke Show (1965), The Beverly Hillbillies (1965) and The Milton Berle Show (1966). He also had an uncredited bit role in the Spy-Fi comedy Our Man Flint (Daniel Mann, 1966) that parodies the James Bond film series. The film starred James Coburn as master spy Derek Flint. 20th Century-Fox gave him his most vividly recalled part in The Green Hornet (1966-1967), as the mysterious masked hero and his alter ego, charming newspaper editor Britt Reid. Bruce Lee played his agile, Robin-like counterpart Kato. Inspired by the huge cult hit series Batman (1966), ABC-TV had William Dozier revive George W. Trendle's famous radio character in this new series. Williams played the role straight, unlike the comedy approach of the same producer's Batman show. He and Bruce Lee also made three guest appearances, in character, on the series Batman (1966-1967) and in the film Batman / Batman: The Movie (Leslie H. Martinson, 1966). The Green Hornet enjoyed a fast start but, like its predecessor, met an equally untimely finish. By the time he starred in The Green Hornet, Williams had become successful investing in various commercial ventures. Williams later said, "By the time The Green Hornet came along, I had pretty well decided to get out of the television business. About the only thing I enjoyed about those years was the location work. Basically I'm a shy person. I know that public appearances and autographs and all that are a necessary part of the business, but it wasn't for me."
However, after The Green Hornet ended, Van Williams guest starred on shows such as The Big Valley (1968), Mannix (1970), Love, American Style (1970), Nanny and the Professor (1970), Ironside (1971), Mission: Impossible (1972), Apple's Way (1974), Gunsmoke (1974), and The Manhunter (1975). He returned to the lead in a regular series with Westwind (Christian Nyby, 1975), a children's adventure series filmed in Hawaii. He co-starred with Dorothy MacGuire in the TV movie, The Runaways (Harry Harris, 1975) about a homeless teenage boy (Josh Albee) and an escaped leopard (Spot). William then again guest-starred in popular TV series such as Bert 'DAngelo/Superstar (1976), The Streets of San Francisco (1976), Barnaby Jones (1977), How the West Was Won (1978), The Night Rider (1979), Mrs. Columbo (1979) and The Rockford Files (1979). Ironically, he turned down the offer of a role in Falcon Crest (1981) because it involved too much location shooting. Williams retired from acting in 1982 to open a communications company in Santa Monica. He was also a longtime reserve deputy sheriff with the Los Angeles County Sheriff's Department and worked at the substation in Malibu, California. In 1993, Williams made a cameo in Dragon: The Bruce Lee Story (Rob Cohen, 1993) as the director of The Green Hornet television program. In 2010, the filmmakers of the Green Hornet film adaptation wanted him to make a cameo appearance as a cemetery guard, but Williams turned it down. Williams married Vicki Flaxman in 1959. Together they had two children, and one from Vicki's prior marriage to Jeff Richards. He had nine grandchildren. He also had twin daughters from a previous marriage to Drucilla Greenhaw, which also included four grandchildren. Outside the studios, Williams was also privately closely affiliated with Batman star Adam West. They were neighbours in Sun Valley and spent much leisure time together. West also claimed that when people saw them together outdoors, they would comment about Batman and The Green Hornet being on a secret case together. Van Williams died in 2016 from kidney failure at the age of 82 in Scottsdale, Arizona.
Sources: Gary Brumburgh (IMDb), J.E. McKillop (IMDb), Wikipedia (German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
John Lowin (baptized 9 December 1576 – buried 16th/18 March 1659) was an English actor born in the St Giles-without-Cripplegate, London, the son of a tanner. Like Robert Armin, he was apprenticed to a goldsmith. While he is not recorded as a free citizen of this company, he did perform as a goldsmith, Leofstane, in a 1611 city pageant written by Anthony Munday. This pageant was commissioned by the Goldsmiths' Company in honor of the election of one of their company as mayor; in the document employing him, Lowin is described as a "brother" of the company, suggesting some form of ongoing relationship with that community. He lived in Southwark, where parish registers record two marriages involving a man of his name (in 1607 and 1620); the latter definitely involved the actor.
Lowin was definitely associated with the theatrical world by 1602. His name frequently occurs in the account books of Philip Henslowe in 1602, when he was playing with Worcester's Men at Rose Theatre in Bankside; a note in Henslowe's book places him in a travelling company in the same year. By late 1603, he had joined the new King's Men, apparently as a hired man rather than a sharer, as his name is not mentioned in the original royal patent. He probably became a sharer in 1604, when the total number of sharers was likely increased to twelve.
That he became important to the company fairly quickly is suggested by his appearance as himself (alongside Richard Burbage and Henry Condell) in the induction to John Marston's The Malcontent. He is mentioned in the surviving cast lists of the company's productions of Ben Jonson's Sejanus (1603), Volpone (1605), The Alchemist (1610), and Catiline (1611), John Fletcher's Bonduca and Valentinian (both ca. 1613), and John Webster's The Duchess of Malfi (ca. 1621).
Lowin's prowess as an actor is displayed by a remarkable fact about the plays in which he acted. In the hundreds of plays, and the thousands of roles in them, that date to the 1580–1610 era, there are only about twenty roles of 800 lines or longer. Only three plays have two roles of this scale: Shakespeare's Othello and Jonson's Volpone and The Alchemist. Burbage played the starring role in the King's Men's productions of these plays—and Lowin apparently was the man who seconded him (just as Lowin is known to have played Bosola to Burbage's Ferdinand in The Duchess of Malfi). In all likelihood it was Lowin who played Iago to Burbage's Othello, Mosca to his Volpone, and Subtle to his Face.[1]
Edward Alleyn's diary speaks of his dining with Lowin in 1620. When John Heminges died in 1630, Lowin purchased an eighth of the total shares in the Globe and Blackfriars Theatres. With the death of Heminges, the old guard left over from the Lord Chamberlain's Men had finally passed. From that year until the theaters closed in 1642, Lowin (together with Joseph Taylor) assumed the roles previously fulfilled by Heminges, serving as treasurers and as contacts with the court and with the Master of the Revels. In 1633, he was scolded by Sir Henry Herbert for staging Fletcher's The Woman's Prize without censorship. After the theaters closed in 1642, Lowin may have kept an inn (called the Three Pigeons) at Brentford, where he died in 1659, at the age of eighty-two.
Lowin was one of the ten King's Men who signed the dedication in the 1647 Beaumont and Fletcher First Folio; also, he signed the 1652 edition of Fletcher's The Wild Goose Chase with Joseph Taylor. In the 25 cast lists added to plays in the second Beaumont and Fletcher folio of 1679, Lowin's name is mentioned in the lists for 21 dramas, more than any other single actor.
Actor Adam Cropper at SRK Headshot Day in Los Angeles. Lighting: Paul C Buff Einstein with 64" Reflecting Umbrella camera left. Einstein with shovel reflector on background. Fired with Cybersyncs.
Emma watson at the world premiere screening of 'harry potter and the prisoner of azkaban' held at radio city music hall. New york city. 23 may 2004. Pictures dennis van tine/Lfi
Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
German postcard by Ross Verlag, no. 3796/1, 1928-1929. Photo: Paramount.
If Weimar cinema had one film star, then it was Emil Jannings (1884-1950) for sure. He was a great actor in the silent era and won the first Oscar for Best Actor. Too bad that during his later years he worked as a board member for the Ufa propaganda machine during the Third Reich.
Jannings was born Theodor Friedrich Emil Janenz in Rorschach (Switzerland), and grew up in Leipzig and Görlitz. He left gymnasium prematurely and worked as ship's mate. In 1900 he started to work at the Görlitz Stadttheater, after which he played in several provincial theaters and with travelling companies. Occasionally he directed plays too. In 1914 he reached Berlin where he was engaged in 1915-1916 at Max Reinhardt's Theater. In between he played on stage elsewhere and had his first film role in the war propagandafilm Im Schützengraben [In the Trenches] Until 1920 Jannings continued to play on stage, getting ever bigger roles.
From 1916 on, Emil Jannings played more and more in film, mostly in quickly staged melodramas and crime stories. In 1919 he had his big breakthrough as Louis XV in the lavish period piece Madame Dubarry, directed by his former theater colleague Ernst Lubitsch. The film was such an international hit that former war adversaries such as the United States embraced German cinema. Jannings and his co-actress Pola Negri (Dubarry) became instant stars. For a while he continued to play debauched rulers such as Henry V in Lubitsch' Anna Boleyn (1920), Amenes in Lubitsch' Weib des Pharao (1921) and czar Peter the Great in Peter der Grosse (Dimitri Buchowetzki 1922). Other strong historical characters were the title roles in Otello (1921-22) and Danton (1921) both by Buchowetzki. After the Italo-German co-production Quo Vadis? (1923-24), in which he incorporated emperor Nero, Jannings managed to get away from his historical characters with two major films. In F.W. Murnau's Der letzte Mann/The Last Laugh (1924) he was a proud hotel doorman who looses his self-esteem and that of others when he is reduced to a toilet man, working in the basement of the hotel. In Varieté/Variety (1925) by E.A. Dupont he is the strong acrobat, who kills his rival out of jealousy. Jannings magnificently expressed the fears and doubts of big, proud and big-hearted men, who are cheated by their surroundings.
The success of these films earned Jannings a 3-year contract with Paramount. Here he played again men who had a social position and then end in misery such as The Way of All Flesh (1927) and The Last Command (1928). They earned him the first Oscar ever distributed to an actor. Together with Lubitsch he tried to repeat their German successes in The Patriot (1928). When sound came in, Jannings left Hollywood and returned to Berlin, where he was launched in his first sound film Der blaue Engel/The Blue Angel (1929), directed by Ernst Lubitsch and based on a novel by Heinrich Mann, Professor Unrat. Jannings is the local university professor Von Rath who falls in love with cabaret singer Lola-Lola (Marlene Dietrich). Married to him she shamelessly exploits and humiliates him. When the film came out, Dietrich's populariy overshadowed Jannings. The film was her ticket to Hollywood. Jannings returned to play on stage, until 1936.
With his sound films of the early 1930s, Jannings could not compete with his earlier successes. Only after the nazi's came to power, his star rose again, while playing rulers, just like in the early 1920s but this time not the decadent versions anymore. He performed historical characters such as Friedrich Wilhelm I in Der alte und der junge König (1934-35), Geheimrat Clausen in der Herrscher (1936-37), the title roles in Robert Koch (1939) and Ohm Kruger (1941) and Bismarck in Die Entlassung (1942). All predecessors to Hitler, to be understood. In 1936 he became board member of Ufa and in 1938 he was chairman there. He was allowed to direct his own films, and thus was the main responsable for Ohm Kruger, one of the most expensive flms of the nazi era. His historical films contributed to the legitimization of the modern politics. In January 1945 he broke up work to the film Wo ist Herr Belling?, because of an illness. The film, never ended, was his last film. In 1946 Jannings was denazified and in 1950 he died in Austria.
Too bad about Jannings' last years, because he was a great actor in the silent era, one of the biggest (in every which way).
(Source: www.filmportal.de/df/7d/Uebersicht,,,,,,,,3377E94609D3412...
Ross Verlag nr. 3796/1.
Bain News Service,, publisher.
Actors
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.28569
Call Number: LC-B2- 4885-4
British postcard by Paramount. Photo: Paramount. James Spader, Jon Cryer, Mollie Ringwald and Andrew McCarthy in Pretty in Pink (Howard Deutch, 1986).
American actor James Spader (1960) began acting in youth-oriented Brat Pack films such as Pretty in Pink (1986) and Mannequin (1987). He is known for often portraying morally ambiguous and eccentric characters in such films as Steven Soderbergh's drama Sex, Lies, and Videotape (1989), True Colors (1991), Stargate (1994), 2 Days in the Valley (1996), and Secretary (2002) His accolades include three Primetime Emmy Awards for Boston Legal (2004-2008).
James Todd Spader was born in 1960 in Boston, Massachusetts. He is the youngest of three children. His parents, Jean (née Fraser) and Stoddard Greenwood Spader, were both teachers. He has two older sisters, Libby Spader and Annie Spader, and had a progressive and liberal upbringing: "I was always around dominant and influential women, and that left a great impression". He attended many private schools, including The Pike School in Andover, where his mother taught art, and the Brooks School in North Andover, where his father was a teacher. He later transferred to Phillips Academy, where he befriended John F. Kennedy Jr. At 17, he dropped out of school and moved to New York City to pursue acting full-time and attend the Michael Chekhov Acting Studio. He was working as a janitor at a rehearsal studio run by acting teacher and casting director Trent Gough in Times Square when he landed his first feature film. He played Brooke Shields' brother in the teen drama Endless Love (Franco Zeffirelli, 1981). His first starring role was in the teen drama Tuff Turf (Fritz Kiersch, 1985) alongside his good friend Robert Downey Jr. The following year, he rose to stardom when he played the rich, arrogant playboy Steff in Pretty in Pink (Howard Deutch, 1986) opposite Molly Ringwald and Andrew McCarthy, another friend. A cult classic, Pretty in Pink is commonly identified as a 'Brat Pack' film. He also co-starred with McCarthy in another Brat Pack comedy, Mannequin (Michael Gottlieb, 1987) and in the film adaptation of Less Than Zero (Marek Kanievska, 1987), in which he played a drug dealer named Rip. McCarthy would later direct Spader in multiple episodes of The Blacklist (2013). Supporting roles followed in films such as Baby Boom (Charles Shyer, 1987) with Diane Keaton and Wall Street (Oliver Stone, 1987) with Michael Douglas and Charlie Sheen. In each of these films, he played similarly sleazy, villainous characters. Then he had his breakthrough as a character actor in Sex, Lies, and Videotape (Steven Soderbergh, 1989), in which he played a troubled voyeur and drifter who videotapes women discussing their sexuality and fantasies. He disrupts the placid suburban existence of a handful of these women. Roger Ebert: "Spader’s performance throughout the film is a kind of risk-taking. Can you imagine the challenge an actor faces in taking the kind of character I have described and making him not only intriguing but seductive? Spader has the kind of sexual ambiguity of the young Brando or Dean; he seems to suggest that if he bypasses the usual sexual approaches, it is because he has something more interesting up, or down, his sleeve." For this performance, Spader received the Best Actor Award at the Cannes Film Festival. The film, which won the Palme d'Or at the festival, was influential in revolutionising the independent film movement in the early 1990s.
James Spader's roles in the early 1990s included a young, affluent widower opposite Susan Sarandon in the romantic drama White Palace (Luis Mandoki, 1990), a yuppie who meets the mysterious Rob Lowe in the Noir drama Bad Influence (Curtis Hanson, 1990), John Cusack's best friend in the political drama True Colors (Herbert Ross, 1991), and a poker-playing drifter in the Paul Auster adaptation The Music of Chance (Philip Haas, 1993). One of his most famous roles is Egyptologist Daniel Jackson in the Sci-Fi film Stargate (Roland Emmerich, 1994), starring Kurt Russell. The film grossed $196.6 million worldwide. Spader played one of his strangest and most provocative roles—a man with a car crash fetish - in the controversial Canadian thriller Crash (David Cronenberg, 1996). Then he played killer Lee Woods in the Neo Noir 2 Days in the Valley (John Herzfield, 1996). In the Seinfeld episode The Apology (1997), he played an angry recovering alcoholic who refuses to apologise to George for making fun of him. Spader played a drug-addicted detective tracking a serial killer in The Watcher (Joe Charbanic, 2000) alongside Keanu Reeves and the sadomasochistic boss of Maggie Gyllenhaal in the critically acclaimed film Secretary (Steven Shainberg, 2002). From 2004 to 2008, he starred as the colourful attorney Alan Shore in the TV series Boston Legal, reprising his role from the legal drama The Practice (2003). Writer-producer David E. Kelley said there was resistance when he first tried to cast Spader in the role: "I was told that no one would ever welcome James Spader into their living room." He won the Emmy Award for Outstanding Lead Actor in a Drama Series in 2004 for his portrayal on The Practice and won it again in 2005 and 2007 for Boston Legal. On stage, he made his Broadway debut in 'Race' (2009-2010), a play written and directed by David Mamet. Spader guest-starred as the manipulative salesman Robert California in the season 7 finale of The Office, but then joined the cast as a regular member for the eighth season. He played supporting roles in such films as Lincoln (Steven Spielberg, 2012), starring Daniel Day-Lewis, and The Homesman (Tommy Lee Jones, 2014). He portrayed criminal mastermind Raymond 'Red' Reddington, one of the FBI's most wanted fugitives, in ten seasons of the television series The Blacklist (2013-2023). He also played the villainous robot Ultron in the superhero film Avengers: Age of Ultron (Joss Whedon, 2015), starring Robert Downey Jr. and Chris Hemsworth and reprised the role in the series VisionQuest (2026). James Spader met his first wife, decorator Victoria Kheel, while she was working in a yoga studio after he moved to New York City in the 1980s. They married in 1987 and had two sons: Sebastian Spader (1989) and Elijah Spader (1992). Victoria was the set decorator for Sex, Lies, and Videotape (1989). Spader filed for divorce from Kheel in 2004. He began dating actress Leslie Stefanson in 2002. They have one son together, Nathaneal (2008).
Sources: Roland Martin (Britannica), Roger Ebert (RogerEbert.com), Wikipedia (German, Dutch and English) and IMDb.
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Director y protagonistas de la pelicula en la Premiere de FIN del director Jorge Torregrosa en el cine Callao (Plaza de Callao, 1), Madrid 20 de Noviembre de 2012. CORDON PRESS / GREGORIO LOPEZ. Miguel Fernandez, Clara Lago, Andres Velencoso, Daniel Grao, Jorge Torregrossa, Carmen Ruiz, Maribel Verdú, Antonio Garrido y Blanca Romero
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How I wish to get hold of some clothes like this, some model and do a Noir set! Actually this actor had the perfect face (I have never seen him before though).
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Darryn Glass Beware of #SolomonKeys. You never know where he will show up. #thenaturalseries #thenatural #absolutepower #vodseries #scalesoffmedia #blackfoliostudios #filmmaking #episode1 #webseries #fimmakers #originalseries #hitshow #fall2016 #Emmy2017 August 31, 2016 at 09:51PM
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