Archive for March, 2013

Happy Easter from Vera-Ellen 1950

 
                             Happy Easter!!
                                 Vera-Ellen
                                       1950

Vera-Ellen 1950 Happy Easter

Vera-Ellen 1950 Happy Easter

 

Vera-Ellen 1950 Happy Easter

Vera-Ellen 1950 Happy Easter

 

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Patricia Morison – Popular Broadway and Motion Picture Actress

 

Patricia Morison is an American stage and motion picture actress and mezzo-soprano singer. During her time as a screen actress she was lauded for her patrician beauty, with her large eyes and extremely long, dark hair among her most notable physical attributes. As a film actress, Morison was often cast as the femme fatale or ‘other woman’ and was never truly given a chance at screen stardom. It was when she returned to the Broadway stage that she achieved her greatest success as the lead in the original production of Cole Porter’s “Kiss Me, Kate”.

 

Patricia Morison -- 1939 publicity photo

Patricia Morison — 1939 publicity photo

Patricia Morison was born Eileen Patricia Augusta Fraser Morison on March 19, 1914 in New York City, New York. Her father, William Morison, was a playwright and occasional actor who billed himself under the name Norman Rainey. Her mother, Selena Morison worked for British Intelligence during World War I. After graduating from Washington Irving High School in New York, Morison studied at the Arts Students League while taking acting classes at the Neighborhood Playhouse. She also studied dance under Martha Graham. During this time she was employed as a dress shop designer at Russeks Department Store. In November 1933, at the age of nineteen, Morison made her Broadway debut in the short-lived play “Growing Pains” and proceeded to understudy the legendary Helen Hayes in her classic role of “Victoria Regina”. Hayes never missed a performance and alas, Morison never had the opportunity to play her role. In 1935, four years before her official film debut, Morison made her first appearance on film in an automobile propaganda short called Wreckless. In 1938, Morison appeared in the musical “The Two Bouquets”, which ran for only fifty-five performances. Among the other cast members was Alfred Drake, who, years later, would co-star with Morison in “Kiss Me, Kate”. While appearing in “The Two Bouquets”, Morison was noticed by talent scouts from Paramount Pictures, who at the time were looking for exotic, dark-haired glamorous types similar to Dorothy Lamour. The blue-eyed beauty, who did resemble Lamour, was signed and made her film debut the following year showing bright promise in the “B” film Persons in “Hiding” (1939). The following year Morison appeared opposite Ray Milland in the Technicolor romance “Untamed”, a re-make of the Clara Bow vehicle, “Man Trap” (1926).

 

Patricia Morison 1939 Portrait

Patricia Morison 1939 Portrait


 

Despite garnering good reviews and the promising beginnings, Morison was assigned to several second-tier pictures such as “Rangers of Fortune” (1940) and “One Night in Lisbon” (1941), both with Fred MacMurray, and “The Roundup” (1941) with Richard Dix and Preston Foster. On a loan-out to 20th Century-Fox Morison played one of her first villainess roles in “Romance of the Rio Grande” (1941), which starred Cesar Romero as the Cisco Kid. In 1942 came more unrewarding roles with Paramount in the films “Night in New Orleans” (1942) with Preston Foster, the Technicolor “Beyond the Blue Horizon” (1942) with the sarong-clad Dorothy Lamour, and “Are Husbands Necessary?” (1942), which re-teamed her with Ray Milland. After being considered for, but not given, the lead role opposite Alan Ladd in “The Glass Key” (1942) Morison left Paramount. Said Morison of the experience, “I was fitted for costumes in ‘The Glass Key’ with Alan Ladd when I was told by the studio boss, Buddy De Sylva, that Veronica Lake would do the part. He said I could stick around and play heavies. I said no! I over-ate my way out of the Paramount contract.”

 

Patricia Morison 1939

Patricia Morison 1939


 

After leaving Paramount, Morison became one of many celebrities who entertained American troops and their allies during WWII. In November of 1942 she joined Al Jolson, Merle Oberon, Allen Jenkins, and Frank McHugh on a USO Tour in Great Britain. After several months of touring with the USO, Morison returned to the states to continue her film career as a freelance performer. One of her better roles, albeit a small supporting one, was that of Empress Eugénie in “The Song of Bernadette” (1943) starring Jennifer Jones. Morison also appeared in “The Fallen Sparrow” (1943) with John Garfield and Maureen O’Hara, and “Calling Dr. Death” (1945), one of the “Inner Sanctum” films starring Lon Chaney, Jr. In 1944, Morison briefly abandoned her film work and returned to the Broadway stage. In April of that year, she opened at the Adelphi Theatre in a musical comedy, “Allah Be Praised!”. The play, however, was unsuccessful and closed after a very brief run of only 20 performances.

 

Patricia Morison

Patricia Morison


 

Returning to films once again, Morison continued to be cast in supporting roles, all too often as a femme fatale or an unsympathetic ‘other woman’. These included the Spencer Tracy-Katharine Hepburn vehicle “Without Love” (1945) and the Deanna Durbin comedy-mystery “Lady on a Train” (1945). She also played the villainess in the final installments of Universal’s Sherlock Holmes series “Dressed to Kill” (1946), starring Basil Rathbone and Nigel Bruce, and MGM’s Thin Man series “Song of the Thin Man” (1947), starring William Powell and Myrna Loy. Morison also appeared as a villainess in “Tarzan and the Huntress” (1947) with Johnny Weissmuller. Her few leading roles during this time were in “B” pictures, most notably as Maid Marian to Jon Hall’s Robin Hood in “The Prince of Thieves” (1947), in the action film “Queen of the Amazons” (1947) and with Richard Arlen in the western “The Return of Wildfire” (1948). In one of her choice roles, Morison played Victor Mature’s despairing, suicide-driven wife in “Kiss of Death” (1947), but her role was cut from the final print, as the producers supposedly felt audiences of the time were not ready for a scene that depicted suicide.

 

Patricia Morison with Nigel Bruce and Basil Rathbone between scenes of "Dressed to Kill" (1946)

Patricia Morison with Nigel Bruce and Basil Rathbone between scenes of “Dressed to Kill” (1946)


 

In 1948, Morison once more returned to the stage and achieved her greatest success as an actress. Cole Porter had heard her sing while in Hollywood and decided that she had the vocal expertise and feistiness to play the female lead in his new show, “Kiss Me, Kate”. Morison went on to major Broadway stardom when she created the role of Lilli Vanessi, the imperious stage diva whose own volatile personality coincided with that of her onstage role (Kate from The Taming of the Shrew). “Kiss Me, Kate” featured the songs “I Hate Men,” “Wunderbar” and “So in Love”, and also reunited Morison with her former Broadway co-star Alfred Drake. The play ran on Broadway from December 30, 1948 until July 28, 1951, for a total of 1,077 performances. Morison also played in the London production of “Kiss Me, Kate”, which ran for 400 performances.

 

Patricia Morison relaxes with  her dachshund Judy in 1940.

Patricia Morison relaxes with her dachshund Judy in 1940.


 

During the 1950s and 1960s, Morison made several appearances on television, including several variety shows. Among these were a production of “Rio Rita” on “Robert Montgomery Presents” (1950) and a segment from “The King and I” on a 1955 broadcast of “The Toast of the Town” starring Ed Sullivan. Morison and Alfred Drake recreated their “Kiss Me, Kate” roles in a Hallmark Hall of Fame production of the play broadcast in color on November 20, 1958. She also appeared with Howard Keel in a production of Kate on British television in 1964. In 1971 Morison and Yul Brynner performed “Shall We Dance” from The King and I on a broadcast of the Tony Awards. Among her non-musical television performances were a recurring role on the detective series “The Cases of Eddie Drake” (1952) co-starring Don Haggerty, and a guest appearance with Vincent Price on “Have Gun — Will Travel” (1958) starring Richard Boone. Years later Morison appeared in the made-for-TV movie “Mirrors” (1985) and a guest role in 1989 on the popular sitcom “Cheers”.

 

Patricia Morison

Patricia Morison


 

Throughout the 1960s and 1970s, Morison performed on stage numerous times, largely in stock and touring productions. These included both musical and dramatic plays, among them “Kismet”, “The Merry Widow”, “Song of Norway”, “Do I Hear a Waltz?”, “Bell, Book and Candle”, “The Fourposter”, “Separate Tables”, and “Private Lives”. Morison also performed in still more productions of “Kiss, Me Kate” at the Seattle Opera House (opening in April 1965) and the New York City Center (opening May 12, 1965). In August 1972, she appeared in a production of “The Sound of Music” at the Dorothy Chandler Pavilion in Los Angeles. In November 1978 she again played the leading role in “Kiss Me, Kate” at the Birmingham Repertory Theatre in England.

 

Patricia Morison -- 1939 photo

Patricia Morison — 1939 photo


 

In recent years Patricia Morison has devoted herself to painting, one of her early passions, and has had several showings in and around Los Angeles.
Patricia Morison has never married and has lived in the Park La Brea apartment complex in Los Angeles since 1961.

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Carole Landis — a Saint Patrick’s Day Beauty!!

 
      Carole Landis — a Saint Patrick’s Day Beauty!!
 

Carole Landis -- Happy Saint Patrick's Day

Carole Landis — Happy Saint Patrick’s Day

 

          Happy Saint Patrick’s Day!!

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George Brent — A popular leading man during the 1930s and 40s.

 

George Brent was a Irish born film actor in American cinema who became a popular leading man in Hollywood during the late 1930s and 1940s.

George Brent (March 15, 1899 – May 26, 1979)

George Brent
(March 15, 1899 – May 26, 1979)

 

George Brent was born George Brendan Nolan on March 15, 1899 in Raharabeg, County Roscommon, Ireland. The son of a British Army officer, Brent was part of an IRA Active Service Unit during the Irish War of Independence (1919–1922). He became a courier for Sinn Fein leader Michael Collins. With a price on his head and being hunted by the Black and Tan, Brent fled. Having an interest in acting, Brent joined a touring production of “Abie’s Irish Rose” and came to the United States in 1925 with the company to tour with the show. During the next five years, Brent acted in stock companies in Colorado, Rhode Island, Florida, and Massachusetts. In 1927, he appeared on “Broadway in Love, Honor, and Betray” alongside Clark Gable. Brent eventually made his way to Hollywood and made his first film, “Under Suspicion” in 1930. Over the next two years he appeared in a number of minor films produced by Universal Studios and Fox, before being signed to contract by Warner Brothers in 1932. He would remain at Warner Brothers for the next twenty years, carving out a successful career as a top-flight leading man during the late 1930s and 1940s starring opposite many of the most famous and popular leading ladies of that era.

 

George Brent at home

George Brent at home

Highly regarded by Bette Davis, George Brent became her most frequent male co-star, appearing with her in eleven films, including “Front Page Woman” (1935), “Special Agent” (1935), “The Golden Arrow” (1936), “Jezebel” (1938), “The Old Maid” (1939), “Dark Victory” (1939) and “The Great Lie” (1941). Brent also played opposite Ruby Keeler in “42nd Street” (1933), Kay Francis in “The Keyhole” (1933), Greta Garbo in “The Painted Veil” (1934), Ginger Rogers in “In Person” (1935), Madeleine Carroll in “The Case Against Mrs. Ames” (1936), Jean Arthur in “More Than a Secretary” (1936), Myrna Loy in “Stamboul Quest” (1934) and “The Rains Came” (1939), Merle Oberon in “‘Til We Meet Again” (1940), Ann Sheridan in “Honeymoon for Three” (1941), Joan Fontaine in “The Affairs of Susan” (1945), Barbara Stanwyck in “So Big!” (1932), “The Purchase Price” (1932), “Baby Face” (1933), “The Gay Sisters” (1942) and “My Reputation” (1946), Claudette Colbert in “Tomorrow Is Forever” (1946), Dorothy McGuire in “The Spiral Staircase” (1946), Lucille Ball in “Lover Come Back” (1946) and Yvonne De Carlo in “Slave Girl” (1947).

 

George Brent with Bette Davis in "Jezebel" (1938)

George Brent with Bette Davis in “Jezebel” (1938)

Brent’s popularity began to wane in the late 1940s and after making several “B” pictures over the next few years he retired from film in 1953. Brent was cast in the lead in the 1956 television series, “Wire Service” which ran for thirteen episodes in 1957. Through 1960,  he also appeared on other television shows such as “Crown Theatre with Gloria Swanson” (1954), “The Ford Television Theatre” (1953 and 1954), “Climax!” (1955), “Fireside Theatre” (1955), “Crossroads” (1956), and “Rawhide” (1960) to name a few. After appearing in “The Chevy Mystery Show” in 1960, Brent retired until making one last appearance in 1978 in the made-for-television production “Born Again”.

 

George Brent with Kay Francis in "The Keyhole" (1933)

George Brent with Kay Francis in “The Keyhole” (1933)

George Brent was known as a womanizer in Hollywood, reputedly carrying on a lengthy relationship with his frequent co-star Bette Davis. He was married five times: to Helen Louise Campbell (1925–1927), to actress Ruth Chatterton (1932–1934), actress Constance Worth (1937) and actress Ann Sheridan (1942–1943). Brent’s final marriage was in 1947 to Janet Michaels, a former model and dress designer. That union lasted 27 years until her death in 1974. They had two children together, a son and a daughter.

 

George Brent 1935

George Brent 1935

 

George Brent died from emphysema on May 26, 1979 in Solana Beach, San Diego County, California. He was eighty years old.
Brent earned two stars on the Hollywood Walk of Fame. The first at 1709 Vine St. for his film contributions. The second star is at 1614 Vine St. for his work in television.

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On the set of “Bringing Up Baby” (1938)

 

“Bringing Up Baby” is a 1938 American screwball comedy film directed by Howard Hawks, starring Katharine Hepburn and Cary Grant, and released by RKO Radio Pictures. The movie tells the story of a paleontologist (Cary Grant) winding up in various predicaments involving a woman (Katharine Hepburn) with a unique sense of logic and a leopard named “Baby”. “Baby” is played by Nissa, an eight year old female leopard. “George,” the bone-hiding pup belonging to Katharine Hepburn’s aunt in the movie is played by Skippy, aka. ‘Asta’ of “The Thin Man” (1934) fame. The rest of the supporting cast includes Charles Ruggles, Barry Fitzgerald, Walter Catlett, and May Robson.

Cary Grant, Katharine Hepburn, and Nissa (Baby) between scenes of "Bringing Up Baby" (1938).

Cary Grant, Katharine Hepburn, and Nissa (Baby) between scenes of “Bringing Up Baby” (1938).

 

Cary Grant, Katharine Hepburn, and Nissa (Baby) between scenes of "Bringing Up Baby" (1938).

Cary Grant, Katharine Hepburn, and Nissa (Baby) between scenes of “Bringing Up Baby” (1938).

 

Cary Grant and Katharine Hepburn with Nissa on the set of "Bringing Up Baby" (1938)

Cary Grant and Katharine Hepburn with Nissa on the set of “Bringing Up Baby” (1938)

 

Cary Grant and Katharine Hepburn with Nissa in what looks like a promo shot on the set of "Bringing Up Baby" (1938)

Cary Grant and Katharine Hepburn with Nissa in what looks like a promo shot on the set of “Bringing Up Baby” (1938)

 

Katharine Hepburn with Nissa on the set of "Bringing Up Baby" (1938).

Katharine Hepburn with Nissa on the set of “Bringing Up Baby” (1938).

 

Katharine Hepburn with Nissa on the set of "Bringing Up Baby" (1938).

Katharine Hepburn with Nissa on the set of “Bringing Up Baby” (1938).

 

Director Howard Hawks, Cary Grant, and Katharine Hepburn on the set of Bringing Up Baby (1938)

Director Howard Hawks, Cary Grant, and Katharine Hepburn on the set of Bringing Up Baby (1938)

 

Howard Hawks visits with Cary Grant and Katharine Hepburn between scenes of "Bringing Up Baby" (1938)

Howard Hawks visits with Cary Grant and Katharine Hepburn between scenes of “Bringing Up Baby” (1938)

 

Howard Hawks directs Cary Grant and Katharine Hepburn between scenes of "Bringing Up Baby" (1938)

Howard Hawks directs Cary Grant and Katharine Hepburn between scenes of “Bringing Up Baby” (1938)

 

Katharine Hepburn stands on Cary Grant's shoulders on the set of "Bringing Up Baby" (1938)

Katharine Hepburn stands on Cary Grant’s shoulders on the set of “Bringing Up Baby” (1938)

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