Showing posts with label anna. Show all posts
Showing posts with label anna. Show all posts

Sunday, 28 March 2021

ANNA HELD ,POLISH-AMERICAN ACTRESS BORN 1872 MARCH 19 - 1918 AUGUST 12

 

ANNA HELD ,POLISH-AMERICAN ACTRESS BORN 

1872 MARCH 19 - 1918 AUGUST 12

Anna Held (19 March 1872 – 12 August 1918) was a Polish stage performer and singer on Broadway. While appearing in London, she had been spotted by impresario Florenz Ziegfeld, who brought her to America as his common-law wife. Her fame seems to have owed more to Ziegfeld's promotional flair than to any intrinsic talent, and she did not gain critical acclaim. But her uninhibited style inspired the long-running series of popular revues, the Ziegfeld Follies.


Early life[edit]

Born in WarsawCongress PolandRussian Empire, Held was named Helene Anna Held, daughter of a German Jewish glove maker, Shimmle (aka Maurice) Held, and his French-Jewish wife, Yvonne Pierre.[1]

Sources of her year of birth range from 1865–73, but 1872 has been accepted in general. In 1881, anti-Semitic pogroms forced the family to flee to Paris, France. When her father's glovemaking business failed, he found work as a janitor, while her mother operated a kosher restaurant. Held began working in the garment industry, then found work as a singer in Jewish theatres in Paris and, later, after her father's death, London, where her roles included the title role in a production by Jacob Adler of Abraham Goldfaden's Shulamith; she was also in Goldfaden's ill-fated Paris troupe, whose cashier stole their money before they ever played publicly.[2]

As a young woman in France, Held converted to Roman Catholicism.[3]

Career[edit]

Early years[edit]

Portrait of Held c. 1908, by Léopold-Émile Reutlinger
Held and her daughter, Lianne

Her vivacious and animated personality proved popular and her career as a stage performer gained momentum as she became known for her risqué songs, flirtatious nature and willingness to show her legs on stage. In 1894, she married the much-older Uruguayan playboy Maximo Carrera, with whom she had a daughter, Lianne (1895–1988), who was also an actress and producer, sometimes billed as Anna Held Jr.[4]

Touring through Europe, Held was appearing in London in 1896, when she met Florenz Ziegfeld, who asked her to return to New York City with him.[5] He set about creating a wave of public interest in her, feeding stories to the American press, such as her having had ribs surgically removed. By the time Held and Ziegfeld arrived in New York, she was already the subject of intense public speculation.[6][2] When she finally performed in a revival of A Parlor Match, the critics were dismissive, but the public approved.[7]

Broadway success[edit]

Held, in an 1890s publicity photo
Anna Held, by Aimé Dupont

David Monod of Wilfrid Laurier University has suggested that Held succeeded more on image than talent, the illusion she presented to post-Victorian era audiences who were beginning to explore new social freedoms.[8]:296–297 From 1897, Held enjoyed several successes on Broadway, including A Parisian Model (1906–1907). These, apart from bolstering Ziegfeld's fortune, made her a millionaire in her own right. Ziegfeld's talent for creating publicity stunts ensured that Held's name remained well known.[9]

Held influenced the format for what would eventually become the famous Ziegfeld Follies in 1907, and she helped Ziegfeld establish the most lucrative phase of his career. Held could not perform in the first Follies when she become pregnant by Ziegfeld in late 1908. Held's daughter Lianne later claimed in her unpublished memoirs that Ziegfeld forced Held to have an abortion because he did not want her pregnancy interfering with Miss Innocence, a show in which she would star in 1908–09.[9] The claim was repeated in an autobiography by Held entitled Anna Held and Flo Ziegfeld, however, Richard and Paulette Ziegfeld, (authors of The Ziegfeld Touch) concluded that Held never wrote her memoirs, and Lianne was the real author of the autobiography.[10]:23 Eve Golden, Held's biographer, wrote that Lianne's abortion claim was likely a lie designed to demonize Ziegfeld, whom Lianne loathed.[9]

In 1909, Ziegfeld began an affair with the actress Lillian Lorraine; Held remained hopeful that his fascination would pass, and he would return to her, but instead he turned his attentions to another actress, Billie Burke, whom he would marry in 1914.[11]

Film[edit]

New York entertainment entrepreneur Oliver Morosco cast Held in the lead for Madame la Presidente in 1916. According to an interview she gave to Hector Ames for Motion Picture Classic, she was paid $25,000 for her performance.[12]

Later years and death[edit]

After Miss Innocence, Held left Broadway. She spent the years of World War I working in vaudeville and touring France, performing for French soldiers and raising money for the war effort. She was considered a war heroine for her contributions, and was highly regarded for the courage she displayed in traveling to the front lines, to be where she could do the most good.[13]

Held's grave in Gate of Heaven Cemetery
Held's footstone

The year 1917 was one of constant touring for Held; she toured the United States in a production of Follow Me until ill health caused her to close the show in January 1918. She then checked into the Hotel Savoy in New York City where her health continued to decline.[10]:124 Held had been battling multiple myeloma, a cancer of plasma cells, for a year. News coverage began reporting that it had been caused by her practice of excessive lacing of her corsets to give her a tiny waist.[14]

According to the Washington Times, Held had been in and out of consciousness for about a week. On 12 August 1918, her doctor had pronounced her dead, and the media was alerted. Approximately two hours later, Held revived, and the media notified she was still alive, only to have Held finally die shortly thereafter.[15][16]

A Catholic convert,[17] Held's funeral was held at St. Patrick's Cathedral in Manhattan on 14 August.[10]:23[18] Florenz Ziegfeld did not attend as he had a phobia about death and never attended funerals. Held is interred at Cemetery of the Gate of Heaven in Hawthorne, New York.[10]:23

She was survived by her daughter Lianne Carrera, who in 1933, had married, was living in Pennsylvania with a four-year-old daughter (also called Lianne) and running an Inn.[19]

Legacy[edit]

Luise Rainer in her Academy Award portrayal of Held in The Great Ziegfeld (1936)

This is Anna Held. She was born in Poland in 1872, but fled to France in 1881 to get away from antisemitic pogroms in Poland. She started working as a singer and dancer in clubs in both Paris and London as a teenager.

Her curves and flirtatiousness on stage was a huge hit, which helped her engage the audience as her singing voice wasn't that good. She designed routines and special segments to build her popularity, the way modern artist do unique concerts to differentiate themselves.


She acted a bit, mostly on stage, and was incredibly popular. At 22, she married an Uruguayan man more than double her age, and had a daughter with him. They would divorce in 1908 after 14 years, believed to be because of her booming career.


While in London in 1896 she met Florenz Ziegfeld, who convinced her to come to New York City. She started performing on Broadway, and was again a huge hit. Her talent was again only so good, but Ziegfeld fed the press stories and the public just adored her, and her shows were the talk of the town. She worked with Ziegfeld, and together she helped him establish the famous Ziegfeld Follies in 1907, which were high end models that did very artistic and sexy shows and photo shoots.

Held actually did not perform in the follies, having been pregnant with Ziegfeld baby at the time, but apparently had an abortion. She and Ziegfeld broke up, and her career on Broadway stalled. She went back to France during WWI, and performed for soldiers, raising money for the war effort. She was even declared a French Heroine for her efforts. She died in 1918 at the age of 46, believed to have developed physical issues from her body breaking down cells which ultimately caused cancer directly related to her immensely tight corsets. 




Hope you enjoyed this, if this does well, i may start a new series of former famous people most people have never heard of or know anything about.




Friday, 12 March 2021

ANNA PAVLOVA BIOGRAPHY 1881 FEBRUARY 12- 1931 JANUARY 23

 


ANNA PAVLOVA BIOGRAPHY 

1881 FEBRUARY 12- 1931 JANUARY 23



Hollywood

When touring the United States, a favorite stop for Pavlova was Hollywood, where she was fascinated with the fledgling film industry. In 1915, Universal Studios contracted her to star in a major new cinematic undertaking, “La Muette de Portici,” a silent film directed by Lois Weber. While in Hollywood, Pavlova became friends with fellow superstars Charlie Chaplin and Mary Pickford. In later visits she became interested in the medium of film as a way to record her dancing, and recognized its potential as a teaching tool. Pavlova had always felt that her direct connection with her live audience was fundamental to her art, and something difficult to capture on film. We are fortunate that she did make a few short clips of some of her most famous roles, which you can watch on YouTube.


La Muette de Portici, 1915








Historical Information

Pavlova was already familiar with Daniel Auber’s Opera, “The Dumb Girl of Portici,” the story of a deaf-mute fisherman’s daughter, when Universal Studios approached her in 1915 to play the lead part in the re-making of the opera for film. This was an acting role, not a ballet, but Pavlova was already known for her expertise in expressing the theatrical and dramatic. And, by this time, she was well on her way to being an established international star. The movie was directed by fellow Russian emigree, Lois Weber, one of just a tiny handful of women directors in Hollywood in those early days. The film featured an enormous cast, hundreds of elaborate costumes, and huge sets. Pavlova herself was paid the unheard-of sum of $50,000.








This historic film was all but lost until recently, when a team at Milestone Films in New Jersey, working with international archivists, took on the formidable task of restoring the bits and pieces preserved at the New York Public Library, the British Film Institute, NBC/Universal, and other scattered sources. This precious archival material was combined, stabilized and re-tinted so that for the first time modern audiences can delight to this treasured piece showcasing Pavlova. A dazzling new score by composer John Sweeney was created especially for this restored masterpiece. The film was released in DVD and Blueray formats in early 2018. Bonus material never seen before is included. A new generation of Pavlova’s fans can now see Pavlova in motion once again!


La Muette, Re-Imagined

There are numerous black and white stills taken from the original film available in books and online, but it was an early color poster that captured my imagination and provided the inspiration for my own “La Muda de Porticci (spelling error notwithstanding!) The swirling movement of the dancer, the dramatic sweep of the white netting, and the bold contrasting blues and oranges are all reminiscent of the art of the great costume designer Leon Bakst, from which this piece by an unknown artist was surely inspired. I’ve created a sumptuous costume out of embroidered blue silk and coral chiffon, festooned with ruffles, pleated inserts, lace, trims, and hand-dyed silk ribbons, and I’ve posed my mannequin to try to convey some of the spirit and intensity Pavlova brought to this role.


Pavlova never actually wore a costume like this in the film. Rather, this poster was created as an advertisement, to entice viewers to see the movie. We could compare it to today’s “trailer”, deliberately selective, even possibly inaccurate, designed to create lots of buzz about a forthcoming release.



With Chaplin, Re-Imagined. The Pavlova Project, 2018.


With Chaplin, 1922. Photo © Roy Export, SAS

With Charlie Chaplin in Hollywood



Historical Information

Charlie Chaplin was fascinated with dancers, so it is no wonder that he found the slight, ethereal Pavlova absolutely enchanting. He confessed that when he saw her dance, he was in tears, over “…the tragedy of her perfection.” This photo of the two friends, she dressed not in tutu but stylish suit, and he without moustache, baggy pants and bowler, reveal an unmistakable connection not easily put into words. Perhaps it was that they both lived with the same irreconcilable condition: the reality of a sensational celebrity status and a deep, unattainable longing for a private life.


With Chaplin, Re-Imagined

Two online pattern makers for 16″ fashion dolls came to the rescue for assistance with the suits Pavlova and Chaplin are wearing. Adapting a man’s suit pattern from Designs by Jude for him and reworking a ‘20s fashion from The House of O’Brien for her, I was able to re-create the famous meeting between the two stars. A beautiful scrap of royal blue silk from Elfriede’s Fine Fabrics already embellished with sequins and beading, made the perfect turban for Pavlova and coordinating necktie for Chaplin. Reunited, the two friends radiate style and grace!



Pavlova in her Dressing Room, Re-Imagined. The Pavlova Project, 2018


Pavlova in her Dressing Room, prob. late 1920s, Library of Congress, George Grantham Bain Collection

Pavlova in her Dressing Room



Historical Information

Though I can’t discover the exact date and location of this photograph, I’ve put it in the Hollywood Gallery because I think it expresses the behind-the-scenes look of a Hollywood star.The original glass photographic plate is in the Library of Congress’s George Grantham Bain Collection. Bain headed America’s earliest news picture agency, forerunner of Associated Press and United Press International. His collection gives us a fascinating look at early photojournalism.


This rare backstage glimpse of a casually posed Anna Pavlova shows a dressing room in a bit of disarray, with pointe shoes and stockings tossed in a basket, pots of make-up strewn across the top of the dressing table, and a vase of lilies, perhaps from an admirer. Pavlova is wearing a silk dressing gown and her favorite red strapped shoes. We see the flash bulb of the photographer reflected in the mirror, adding to the scene’s informality.


Pavlova in her Dressing Room, Re-Imagined

My good friend Marina Shadrina, who has an Ebay shop called All For Doll, found this fabulous ebony dressing table and framed mirror, which inspired me to create this backstage diorama. I based it on a series of photographs of Pavlova in a dressing room, one of which accompanies this entry. I’ve taken liberty with the color and style of her silk dressing gown, but I’ve tried to find accessories true to the original photograph. And my mannequin is wearing shoes similar to Pavlova’s favorite pair (now housed at the Museum of London). even though they don’t really coordinate with the rest of the scene.



With Mary Pickford, Re-Imagined, The Pavlova Project, 2018


With Mary Pickford, Hollywood, 1925. Photo: General Photographic Agency, © Museum of London

With Mary Pickford

Historical Information



Mary Pickford, “America’s Sweetheart,” was the film world’s first female millionaire. She felt a great kinship with fellow superstar Anna Pavlova, and took an interest in filming her dancing. Pavlova agreed to test out this new medium during her 1925 visit to Hollywood. Pickford arranged for a film crew to record several famous dances, and a series of still photographs of Pavlova with Pickford looking on have survived. It is believed that the filming took place on the Pickford-Fairbanks studio lot, and it is possible that another United Artists luminary, Charlie Chaplin, was present and directed the historic filming.


With Mary Pickford, Re-Imagined

Pavlova wears her black and white Columbine costume, complete with giant pompoms, glittering red Swarovski crystals, and traditional tricorn hat. Pickford, though an adult, wears the gingham frock of a school girl, complete with wide sailor collar, dropped waist, and strapped Mary Janes on her feet. Coils of her famous gold-red hair tumble over her shoulders. With her tiny physique and piquant facial features, Pickford was intentionally portrayed in film as perennially childlike, but with a hint of the erotic woman underneath. This intriguing paradox made her irresistible to audiences.


Thursday, 20 October 2016

ANNA NEAGLE ,BRITISH ACTRESS HAIR STYLIST IN 1940`S BORN 1904 OCTOBER 20

ANNA NEAGLE ,BRITISH ACTRESS 
HAIR STYLIST IN 1940`S
BORN 1904 OCTOBER 20




Dame Anna Neagle, DBE (20 October 1904 – 3 June 1986), born Florence Marjorie Robertson, was a popular English stage and film actress and singer and dancer


Dame Anna Neagle
DBE
Sunny (1941 film) still 1.jpg
Anna Neagle with Ray Bolger (right) in Sunny(1941)
BornFlorence Marjorie Robertson
20 October 1904
Forest Gate, then in Essex, now London, England
Died3 June 1986 (aged 81)
West ByfleetSurrey, England
Cause of deathComplications of renal disease and cancer
Resting placeCity of London Cemetery, Ilford, London, England
OccupationActress, singer
Years active1917–1986
Spouse(s)Herbert Wilcox (1943–1977)
Neagle was a successful box-office draw in the British cinema for 20 years and was voted the most popular star in Britain in 1949. She was known for providing glamour and sophistication to war-torn London audiences with her lightweight musicals, comedies and historical dramas. Almost all of her films were produced and directed by Herbert Wilcox, whom she married in 1943.

In her historical dramas, Anna Neagle was renowned for her portrayals of British historical figures, including Nell Gwynn (Nell Gwynn, 1934), Queen Victoria (Victoria the Great, 1937, and Sixty Glorious Years, 1938) and Edith Cavell (Nurse Edith Cavell, 1939).


Biography[edit]
Early life[edit]

Neagle was born in Forest Gate, then in Essex, now part of the London Borough of Newham, daughter to Herbert Robertson, a Merchant Navy captain, and his wife, the former Florence Neagle.[1] Her older brother was the bass-baritone and actor Stuart Robertson (1901-1958).[2] Robertson attended primary school in Glasgow and then St Albans High School for Girls.[citation needed] She made her stage debut as a dancer in 1917, and later appeared in the chorus of C.B. Cochran's revues and also André Charlot's revue Bubbly. While with Cochran she understudied Jessie Matthews.[3]

In 1931 she starred in the West End musical Stand Up and Sing (1931), with actor Jack Buchanan, who encouraged her to take a featured role. For this play she began using the professional name of Anna Neagle (the surname being her mother's maiden name).[4] The play was a success with a total run of 604 performances.[4] Stand Up and Sing provided her big break when film producer and director Herbert Wilcox, who had caught the show purposely to consider Buchanan for an upcoming film, but also took note of her cinematic potential.[5]

Cinematic beginnings[edit]

"Naturally enough when I was a young dancer, I was terribly anxious to get ahead, and to get ahead quickly. I was impatient with all those older people who talked of the long grind to the top, who turned me down for jobs I knew I could do."

Anna Neagle[6]

Forming a professional alliance with Wilcox, Neagle played her first starring film role in the musical Goodnight, Vienna (1932), again with Jack Buchanan. With this film Neagle became an overnight favourite. Although the film cost a mere £23,000 to a produce, it was a hit at the box office, profits from its Australian release alone being £150,000.[7]

After her starring role in The Flag Lieutenant (also 1932), directed by and co-starring Henry Edwards, she worked exclusively under Wilcox's direction for all but one of her subsequent films,[4] becoming one of Britain's biggest stars.

She continued in the musical genre, co-starring with Fernand Gravey (later known as Fernand Gravet) in Bitter Sweet (1933). This first version of Noël Coward's tale of ill-fated lovers was later obscured by the better known Jeanette MacDonald–Nelson Eddy remake in 1940.[4]

Neagle had her first major success with Nell Gwynn (1934), which Wilcox had previously shot as a silent starring Dorothy Gish in 1926. Neagle's performance as the woman who became the mistress of Charles II (Sir Cedric Hardwicke) prompted some censorship in the United States. 


The Hays Office had Wilcox add a (historically false) scene featuring the two leads getting married and also a "framing" story resulting in an entirely different ending.[8] Graham Greene, then a film critic, said of Nell Gwynn: "I have seen few things more attractive than Miss Neagle in breeches".[7]

Two years after Nell Gwynn, she followed up with another real-life figure, portraying Irish actress Peg Woffington in Peg of Old Drury (1936). That same year she appeared in Limelight, a backstage film musical in which she played a chorus girl. Her co-star was Arthur Tracy, who had gained fame in the United States as a radio performer known as 'The Street Singer'. The film also featured Jack Buchanan in an uncredited cameo.[9] performing "Goodnight Vienna".[5]

Neagle and Wilcox followed with a circus trapeze fable Three Maxims (1937), which was released in the United States as The Show Goes On. The film, with a script featuring a contribution from Herman J. Mankiewicz (later to co-write Citizen Kane with Orson Welles), had Neagle performing her own high-wire acrobatics.[7]

 Although now highly successful in films, Neagle continued acting on stage. In 1934, while working under director Robert Atkins, she performed as Rosalind in As You Like It and Olivia in Twelfth Night. Both productions earned her critical accolades, despite the fact that she had never performed Shakespearean roles before.[4]

In 1937 Neagle gave her most prestigious performance so far – as Queen Victoria in the historical drama Victoria the Great (1937), co-starring Anton Walbrook as Prince Albert. The script by Robert Vansittart and Miles Malleson (from Laurence Housman's play Victoria Regina) alternated between the political and the personal lives of the royal couple.[7] 

The Diamond Jubilee sequence that climaxed the film was shot in Technicolor. Victoria the Great was such an international success that it resulted in Neagle and Walbrook playing their roles again in an all-Technicolor sequel entitled Sixty Glorious Years (1938), co-starring C. Aubrey Smith as the Duke of Wellington. While the first of these films was in release, Neagle returned to the London stage and entertained audiences with her portrayal of the title role in Peter Pan.[4]

An American excursion[edit]

Anna Neagle gives a radio interview in Montreal in 1937.

Anna Neagle gives a radio interview in Montreal in 1937.

The success of Victoria the Great and Sixty Glorious Years caused Hollywood studios to take notice. Neagle and Wilcox began an association with RKO Radio Pictures. Their first American film was Nurse Edith Cavell (1939), a remake of Dawn, a Wilcox silent that starred Sybil Thorndike. In this, another Neagle role based on an actual British heroine, she played the role of the nurse who was shot by the Germans in World War I for alleged spying. The resulting effort had a significant impact for audiences on the eve of war.[7]

In a turnabout from this serious drama, the couple followed with three musical comedies, all based on once-popular stage plays. The first of these was Irene (1940), co-starring Ray Milland. It included a Technicolor sequence, which featured Neagle singing the play's most famous song, "Alice Blue Gown". She followed this film with No, No, Nanette (1940) with Victor Mature, in which she sang "Tea For Two", and Sunny (1941), with Ray Bolger.

Neagle and Wilcox's final American film was Forever and a Day (1943), a tale of a London family house from 1804 to the 1940 blitz. This film boasts 80 performers (mostly expatriate British), including Ray Milland, C. Aubrey Smith, Claude Rains, Charles Laughton and – among the few North Americans – Buster Keaton. Wilcox directed the sequence featuring Neagle, Milland, Smith and Rains, while other directors who worked on the film included René Clair, Edmund Goulding, Frank Lloyd, Victor Saville and Robert Stevenson. During the war the profits and salaries were given to war relief. After the war, prints were intended to be destroyed, so that no one could profit from them. However, this never occurred.[7]

Back to Britain[edit]

Returning to Britain, Neagle and Wilcox commenced with They Flew Alone (1942; shot after but released before Forever and a Day). Neagle this time played aviator Amy Johnson, who had recently died in a flying accident. Robert Newton's co-starred as Johnson's husband, Jim Mollison. The film inter-cut the action with newsreel footage.[7]

Neagle and Wilcox married in August 1943 at the Caxton Hall.[10]

They continued with The Yellow Canary (1943), co-starring Richard Greene and Margaret Rutherford. In this spy story, Neagle plays a German-sympathiser (or at least that is what she seems to be at first) who is forced to go to Canada for her own safety. In reality, of course, she's working as an undercover agent out to expose a plot to blow up Halifax Harbour in Nova Scotia. The Yellow Canary received positive comment for its atmospheric recreation of wartime conditions.[5]

In 1945 Neagle appeared on stage in Emma, a dramatisation of Jane Austen's novel. That same year she was seen in the film I Live in Grosvenor Square, co-starring Rex Harrison. She wanted Harrison for the lead in her next film, Piccadilly Incident (1946). However, he (as well as John Mills) proved to be unavailable at the time, so Wilcox cast Michael Wilding in the lead. Thus was born what film critic Godfrey Winn called "the greatest team in British films".[7]

 The story – of a wife, presumed dead, returning to her (remarried) husband – bears a resemblance to the Irene Dunne–Cary Grant comedy My Favorite Wife. Piccadilly Incident was chosen as Picturegoer's Best Film of 1947. Despite the fact that Neagle was some 8 years senior to Wilding, they proved to be an extremely bankable romantic pairing at the British box office. By now in her mid forties, Neagle continued to have success in youthful and romantic lead roles.

Neagle and Wilding were reunited in The Courtneys of Curzon Street (1947), a period drama that became the year's top box-office attraction. The film featured Wilding as an upper class dandy and Neagle as the maid he marries, only to have the two of them driven apart by Victorian society.[5]

The third pairing of Neagle and Wilding in the "London Films", as the series of films came to be called, was in Spring in Park Lane (1948). A drama, this depicted the romance between a millionaire's niece and a footman (actually a nobleman who has seen better days). The script was written by Nicholas Phipps, who also played Wilding's brother. 

Although not a musical, it contains a dream sequence featuring the song "The Moment I Saw You". Spring in Park Lane was the 1949 Picturegoer winner for Best Film, Actor and Actress.[7] Neagle and Wilding were together for a fourth time in the Technicolor romance Maytime in Mayfair (1949). The plot is reminiscent of Roberta, as it had Wilding inheriting a dress shop owned by Neagle.[5]

By now, Neagle was at her peak as Britain's top box-office actress, and she made what reputedly became her own favourite film, Odette (1950), co-starring Trevor Howard, Peter Ustinov and Marius Goring. As Odette Sansom, she was the Anglo-French resistance fighter who was pushed to the edge of betrayal by the Nazis.[7]

 In 1950, Neagle and Wilcox moved to the top floor flat in Aldford House overlooking Park Lane, which would be their home until 1964.[10] She played Florence Nightingale in The Lady with a Lamp (1951), based on the 1929 play by Reginald Berkeley.

Returning to the stage in 1953, she scored a success with The Glorious Days, which had a run of 476 performances. Neagle and Wilcox brought the play to the screen under the title Lilacs in the Spring (1954), co-starring Errol Flynn. In the film she plays an actress knocked out by a bomb, who dreams she is Queen Victoria and Nell Gwyn – as well as her own mother. 

As she begins dreaming, the film switches from black-and-white to colour. In Britain, where Neagle had top billing, the film was reasonably successful. In the United States, however, where Flynn had top billing, the title was changed to Let's Make Up, and it flopped, with limited bookings.[7][11]

On the wane[edit]

Neagle and Flynn reteamed for a second film together, King's Rhapsody (1955), based on an Ivor Novello musical and also starring Patrice Wymore (Flynn's wife at the time). Although Neagle performed several musical numbers for the film, most of them were cut from the final release, leaving her with essentially a supporting role. Shot in Eastmancolor and CinemaScope with location work near Barcelona, Spain, King's Rhapsody was a major flop everywhere. Neagle's (and Flynn's) box-office appeal, it seemed, was fading.[12]

Neagle's last box-office hit was My Teenage Daughter (1956), which featured her as a mother trying to prevent her daughter (Sylvia Syms) from lapsing into juvenile delinquency.[5]

Neagle and Syms worked together again on No Time For Tears (1957), also starring Anthony Quayle and Flora Robson. As directed by Cyril Frankel, this was the first film for over 20 years where Neagle was directed by someone other than Herbert Wilcox. Set in a children's hospital, the film features Neagle as a matron dealing with the problems of the patients and the staff, notably a nurse (Syms) infatuated with one of the doctors (George Baker).[5]

With her husband, Neagle began producing films starring Frankie Vaughan, but these were out of touch with changing tastes, and lost money, resulting in Wilcox going heavily into debt. Neagle herself made her final film appearance in The Lady Is a Square (1957), also Wilcox's last film as director.

Neagle was the subject of This Is Your Life on two occasions, in February 1958 when she was surprised by Eamonn Andrews at the BBC Television Theatre, and in March 1983, when Andrews surprised her at London's Royal National Hotel.

Final years[edit]

Herbert Wilcox was bankrupt by 1964, but his wife soon revived his fortunes. She returned to the stage the following year and made a comeback in the West End musical Charlie Girl. In it she played the role of a former "Cochran Young Lady" who marries a peer of the realm. Charlie Girl was not a critical success, but it ran for six years and 2,047 performances. It earned Neagle an entry in the Guinness Book of World Records for her enduring popularity.[4]

Two years after Charlie Girl – which she also performed in Australia and New Zealand – Neagle was asked to appear in a revival of No, No, Nanette, having appeared in the screen version three decades earlier. Later, in 1975, she replaced Celia Johnson in The Dame of Sark and, in 1978 (the year after her husband's death), she was acting in Most Gracious Lady, which was written for the Silver Jubilee of Queen Elizabeth II.[13]


Although affected by Parkinson's disease in her last years, Neagle continued to be active. In 1985 she appeared as the Fairy Godmother in a production of Cinderella at the London Palladium.[14]

Some sources state that Neagle was suffering from cancer at the time of her death. She was interred alongside her husband in the City of London Cemetery.[15] Their grave was recommemorated by Princess Anne, the Princess Royal on 6 March 2014.

A memorial plaque on her former home at Aldford House, Park Lane was unveiled on 30 May 1996, by Princess Anne and Lana Morris. [10]

A street named in her honour, Anna Neagle Close,[16] is situated in Forest Gate, London.

Awards[edit]

Neagle was created a Commander of the Order of the British Empire (CBE) in 1952 [17] and, for her contributions to the theatre, a Dame Commander of the Order of the British Empire (DBE) in 1969.

Filmography[edit]

The following list contains all of Neagle's acting credits in feature-length films with the exception of Queen Victoria (1942), which is actually a compilation of two earlier films, Victoria the Great and Sixty Glorious Years. All of her films were directed by Herbert Wilcox and produced in the United Kingdom unless otherwise noted.

In addition, Neagle also appeared briefly as herself in a documentary short entitled The Volunteer (1943), and served as narrator for the films The Prams Break Through (1945) and Princess's Wedding Day (1947). Neagle also produced, but did not appear in, three films starring Frankie Vaughan: These Dangerous Years (1957), Wonderful Things (1957) and The Heart of a Man (1959).




Dame Anna Neagle
Born October 20, 1904 in Forest Gate, Essex, England, UK
Died June 3, 1986 in West Byfleet, Surrey, England, UK (complications of renal disease and cancer)
Birth Name Florence Marjorie Robertson
Height 5' 5" (1.65 m)
Mini Bio (1)

Dame Anna Neagle, the endearingly popular British star during WWII, was born Florence Marjorie Robertson and began dancing as a professional in chorus lines at age 14. She starred with actor Jack Buchanan in the musical "Stand Up and Sing" in the West End and earned her big break when producer/director Herbert Wilcox, who had caught the show purposely to consider Buchanan for an upcoming film, was also taken (and smitten) by Anna, casting her as well in the process. Thus began one of the most exclusive and successful partnerships in the British cinema.


Under Wilcox's guidance (they married in 1943), Anna became one of the biggest and brightest celebrities of her time. Always considered an actress of limited abilities, the lovely Anna nevertheless would prove to be a sensational box-office commodity for nearly two decades. She added glamour and sophistication for war-torn London audiences and her lightweight musicals, comedies and even costumed historical dramas provided a nicely balanced escape route. 

The tasteful, ladylike heroines she portrayed included nurses Edith Cavell and Florence Nightingale, flyer Amy Johnson and undercover spy Odette; Nell Gwyn and Queen Victoria also fell within her grasp. She appeared in a number of frothy post-war retreads co-starring Michael Wilding that the critics turned their noses on but the audiences ate up - including Piccadilly Incident (1946), Kathy's Love Affair (1947), Spring in Park Lane (1948) and The Lady with a Lamp (1951). She tried to extend her fame to Hollywood and briefly appeared there in three musicals in the early 40s, but failed to make a dent. Anna's appeal faded somewhat in the late 50s and, after producing a few film efforts, retired altogether from the screen.

She returned to her theatre roots, which culminated in the long-running "Charlie Girl", a 1965 production that ran with Anna for nearly six years. She was bestowed with the honor of Dame of the British Empire in 1969 for her contributions to the theatre. Anna continued to perform after her husband's death in 1977, later developing Parkinson's disease in her final years. She died in 1986 of complications.

- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

Spouse (1)

Herbert Wilcox (9 August 1943 - 15 May 1977) (his death)

Trivia (15)

Sister of actor Stuart Robertson.
She was awarded the DBE (Dame Commander of the Order of the British Empire) in the 1969 Queen's Birthday Honours List for her services to drama.
She made her stage debut in 1917 at age 12, but was not seen again until 1925 in the musical revue "Bubbly."
She produced three films in the 1950s (Dangerous Youth (1957), Wonderful Things! (1958), and The Heart of a Man (1959)), all starring British actor Frankie Vaughan.
For seven straight years after WWII, she was voted top favorite English actress.
She was recorded in the "Guinness Book of World Records" for her 2,062 consecutive performances in the stage play "Charlie Girl" which ran from 1965 to 1971.
London (By Cable)-Wednesday, November 15, 1939: Statement of affairs of Imperator Films, in voluntary liquidation, lists $692, 985 owing to unsecured creditors, among whom are Herbert Wilcox ($136,165) and Anna Neagle ($127,885.) Both Wilcox and Miss Neagle have cabled from Hollywood expressing the wish that their claims be set aside until other creditors have been paid. Herbert Wilcox Productions, also in voluntary liquidation, lists debts to unsecured creditors of $310,125.
Great-aunt of Nicholas Hoult.

Neagle played many historical characters including Nell Gwynn, Queen Victoria, 18th Century British actress Peg Woffington, aviatrix Amy Johnson, nurse Edith Cavell, French Resistance heroine Odette Celine, and Florence Nightengale.
She played Nell Gwyn in both Nell Gwyn (1934) and Let's Make Up (1954).
She had two roles in common with Fay Compton: (1) Neagle played Queen Victoria in Victoria the Great (1937) and Queen of Destiny (1938) while Compton played her in The Prime Minister (1941) and Journey to the Unknown: Poor Butterfly (1969) and (2) Compton played Florence Nightingale in Wrath of Jealousy (1936) while Neagle played her in The Lady with a Lamp (1951).
Although she played Errol Flynn's daughter in Let's Make Up (1954), she was almost five years his senior in real life.
Although she played Mary Morris's daughter in Victoria the Great (1937), she was eleven years Morris' senior in real life.
She was awarded the CBE (Commander of the Order of the British Empire) in the 1952 King's New Year Honours List for her services to drama.
'Neagle' was her mother's maiden name.
Personal Quotes (1)

[Asked in a 1985 interview if her films had a feminist point of view] "Instinctively, yes, not consciously. I feel very strongly for women's emancipation. Now it's accepted, of course, but at the time some of the characters I played lived, it wasn't accepted.







OLIVE THOMAS ,THE BEAUTY OF NEWYORK ,
SILENT FILM ACTRESS BORN 1894 OCTOBER 20
DIED OF DRUG CHANGING


Born October 20, 1894 in Charleroi, Pennsylvania, USA
Died September 10, 1920 in Neuilly-sur-Seine, France (accidental poisoning)
Birth Name Olive Elaine Duffy
Nickname Ollie

Mini Bio (2)

Oliveretta Elaine Duffy was born on October 20, 1894, in Charleroi, Pennsylvania. Olive, as she was known to family and friends, did not have much of a childhood. Life in industrial Pittsburgh was depressing and grim with its smoky factories and hard living. She married Bernard Krug Thomas at the age of 16 (which wasn't uncommon at the time), but the marriage wasn't happy and they divorced two years later. By that time Olive had left Pittsburgh for New York, where she found work in a department store. 

On a lark, she entered a competition for the most beautiful girl in New York City, as fate would have it, she won. With the ensuing publicity, Olive caught the eye of Florenz Ziegfeld Jr. and immediately joined his famed Follies. An outstanding addition, men went wild over her beauty. She also posed nude for the famed Peruvian artist Alberto Vargas. As a result of her sudden fame, she was signed to a contract with Triangle Pictures. 

Her first film was Beatrice Fairfax (1916). Later that year, she married Jack Pickford, brother of screen star Mary Pickford. The relationship was a stormy one. In 1917, she starred in four more films: Madcap Madge (1917), A Girl Like That (1917), Broadway Arizona (1917) and Indiscreet Corinne (1917). With five films on her resume, Olive was the toast of Hollywood. Her beauty was captivating. One look at her pictures can make one understand why. She made three films in 1918 and six in 1919. By 1920, Olive was at the top of the film world. 

She continued to make good pictures, most notably, Youthful Folly (1920) and The Flapper (1920), which was an overwhelming success. After finishing Everybody's Sweetheart (1920), Olive and Jack sailed to France for a much-needed vacation. The couple finally seemed happy, which seems odd in light of what was to follow. Olive accidentally ingested bi-chloride of mercury from a French-labeled bottle in a darkened bathroom, believing it to be another medication. 

Found unconscious, she died five days later. The death made worldwide headlines and was ruled accidental. Always remembered as one of the finest actresses of the silent era, With the advent of sound pictures, she would have no doubt continued a dazzling career. Considered to be one of the world's great beauties, Olive was only 25 when she died.


- IMDb Mini Biography By: Denny Jackson & MO840

Oliva R. Duffy was born on October 20, 1894, in Charleroi, Pennsylvania. Ollie, as she was known to family and friends, did not have much of a childhood. Life in industrial Pittsburgh was depressing and grim, with its smoky factories and hard living. Olive's father died while she was still young, forcing her to leave school to help earn her keep. In April 1911 at the age of 16 she married Bernard Krug Thomas in McKees Rock, PA. 

During this time she reportedly worked as a sales clerk. The marriage was an unhappy one and after 2 years Olive filed for divorce. She soon moved to New York and stayed with relatives while again working in a department store. In 1914 she answered a newspaper ad and won the title of "The Most Beautiful Girl in New York City". The contest was run by the celebrated commercial artist Howard Chandler Christy. After winning, Thomas modeled for artist Harrison Fisher and eventually landed on the cover of the Saturday Evening Post.

Either on a recommendation or her own brazen approach, Thomas impressed Florenz Ziegfeld Jr. and immediately went to work in his famed Ziegfeld Follies. Thomas would become a Follies favorite, working in The Midnight Frolic as well as many of the revues. Stunningly gorgeous, she soon found herself being pursued by a number of very wealthy and powerful men who frequented the follies. Thomas received expensive gifts from her admirers, with rumors that the German Ambassador had given her a $10,000 string of pearls. Her beauty would lead to a sitting with famed Peruvian artist Alberto Vargas.

Thomas' entry into films is slightly sketchy, as it is hard to trace when or why it happened. Her first contract was with International Film Company as the leading lady in the studio's Harry Fox movies, though this never resulted in any actual films. Her acting debut was a small yet key role in an episode of Beatrice Fairfax (1916). Oddly, she then made one film for Famous Players-Lasky before signing with Triangle Pictures to make a string of light comedies similar to those of Mabel Normand and Mary Pickford. 

Many of these films did well, including Madcap Madge (1917), A Girl Like That (1917), Broadway Arizona (1917) and Indiscreet Corinne (1917).
Thomas met Jack Pickford, brother of Mary, in 1916 while dancing at Nat Goodwin's Cafe located on the Santa Monica Pier. The relationship was rocky but very passionate. Thomas and Pickford claimed to have married in 1916, though they did not announce the "marriage" until 1917 when Thomas was already a film star in her own right. Oddly enough, recently found marriage records prove the couple did not marry until 1918.

In 1918 Thomas signed with Selznick Pictures, where her star grew. During her Triangle days she had played teenager types, causing people to term her a "baby vamp". Selznick capitalized on this image, which would eventually give way to the flapper, Thomas being the first to portray a flapper in The Flapper (1920). It was so successful that Thomas' follow-up films followed a similar pattern, including Youthful Folly (1920) and Everybody's Sweetheart (1920).

Thomas had never been fully accepted by the Pickford family, with Mary resenting her. However, Lottie Pickford befriended her. Despite the stormy relationship, Olive and Jack married in 1918. In 1919 they began proceedings to adopt her nephew, as his mother had passed away (a common practice at the time). Thomas adored children and could not wait to be a mother.

Making what is seen as a last-ditch effort to fix her relationship with Jack, she and Pickford went on a "second honeymoon" in August 1920. While in Paris they had a heavy night of drinking and partying, returning to the hotel at 3:00 a.m. Pickford headed for bed, and Thomas wrote a letter to her mother. After concocting what she thought was a sleeping potion (sleeping medicine at the time was in a powder form, to be mixed with a liquid for consumption) and starting to drink it, Thomas screamed violently. 

Pickford ran in to see what was wrong and discovered that she had misunderstood the French labels and drank a solution of mercury bichloride instead (which, when mixed in that fashion, was used as bathroom cleaner). She was immediately rushed to a hospital. Blinded and unable to talk due to burned vocal chords, it was hard for her to communicate with the French police, who were investigating the incident. 

In any case, the police left satisfied the event was an accident. Thomas passed away a day later, with her husband and brother-in-law Owen Moore at her side. She was 25.
Thomas' death was the first big celebrity scandal, and the first death of a star at the height of her fame and youth (only one other major film star had died unexpectedly at the height of fame, the elderly comedian John Bunny in 1915). Rumors swirled she had killed herself, or was poisoned by a crazed American captain or murdered by Pickford himself. 

After an autopsy and an American and French investigation, her death was ruled accidental. Thomas was buried in New York in a tiny mausoleum marked "Pickford". Though the relationship had been rocky most agree she was the love of Jack's life, so much so that he was said to have contemplated suicide upon returning to America. Two marriages later (both to Ziegfeld girls), Jack was said to call out for Olive while in the midst of his drunken stupors.

Olive's final film, Everybody's Sweetheart (1920), was released after her death. Her name lives on, steeped in her scandal, enhanced by fabrications in Hollywood Babylon. Surprisingly, today many of her films exist (about 12 complete and some in fragments), though they have not as of yet been released on DVD or home video. In 2005 a documentary, "Everybody's Sweetheart" was released, along with "The Flapper".

- IMDb Mini Biography By: Hala Pickford (qv's & corrections by A. Nonymous)

Spouse (2)

Jack Pickford (25 October 1916 - 10 September 1920) (her death)
Bernard Krugh Thomas (1 April 1911 - 25 September 1915) (divorced)
Trade Mark (1)
Playing teenage types, first as a baby vamp and later as a flapper

Trivia (9)

Found poisoned in her room after consuming mercury bichloride tablets dissolved in alcohol. The circumstances around this event were mysterious but were officially determined to be accidental. She died five days later in the American Hospital in Neuilly.

Irish-American descent
Sister-in-law of Mary Pickford and Lottie Pickford.
Daughter-in-law of Charlotte Smith.
Her personal belongings were sold at auction in New York for $26,931. Fellow screen star Mabel Normand bought a 14-karet gold cigarette case for $50, a 20-piece toilet set for $1,425, a diamond pearl brooch and sapphire pin for $500 and a platinum set with star sapphire for $425 (22 November 1920).
Her ghost has been said to haunt the New Amsterdam Theatre in New York City.
Discovered by Florenz Ziegfeld Jr. for his "Follies of 1915". He also cast her in the "Ziegfeld Midnight Frolics", which was a racier, after-hours show atop the New Amsterdam Theater for mostly male audiences. She often wore nothing but balloons, which the gents would eagerly burst with their cigars. She also became Ziegfeld's mistress.

Only daughter in a family of three. Her brothers were Michael James (born February 1893) and William L.(born May 1898).
Was the first actress to play a 'Flapper' which would become a huge fad in the coming years.

Personal Quotes (2)

I think that you die when your time comes and not until then. I feel the same about other things as I do about death. I don't think you can change anything that is going to happen to you any more than you can change anything that has happened to you. That's why I never worry, and that is why I don't think people should get conceited and think themselves better than others

Life's too short and fate too funny to get upstage, Today they may be showering us with roses on Broadway and tomorrow some fool director who used to be a waiter may be rejecting us as atmosphere in a five reel five cent feature...




YearTitleRoleNotes
1929Those Who LoveBit part (uncredited)Directed by H. Manning Haynes
1930The Chinese BungalowCharlotteDirected by Arthur Barnes and J.B. Williams
The School for ScandalFlower Seller (uncredited)Directed by Maurice Elvey. Filmed in Raycol.
Should A Doctor Tell?Muriel AshtonDirected by H. Manning Haynes
1932Goodnight, ViennaVikiNeagle's first collaboration with director Herbert Wilcox
The Flag LieutenantHermione WynneDirected by Henry Edwards.
1933Bitter SweetSarah Millick and Sari Lind
The Little DamozelJulie Alardy
1934Nell GwynNell GwynNeagle's first major hit
The Queen's AffairQueen Nadia
1935Peg of Old DruryPeg Woffington
1936LimelightMarjorie Kaye
Three MaximsPatFrancoBritish production.
1937Victoria the GreatQueen VictoriaFinale filmed in Technicolor
London MelodyJacqueline
1938Sixty Glorious YearsQueen VictoriaFilmed in Technicolor
1939Nurse Edith CavellEdith CavellNeagle's first American film
1940IreneIrene O'DareFeatures one sequence in Technicolor; Produced in the U.S.
No, No, NanetteNanetteU.S. production
1941SunnySunny O'SullivanU.S. production
1942They Flew AloneAmy Johnson
1943Yellow CanarySally Maitland
Forever and a DaySusan TrenchardU.S. production
1945I Live in Grosvenor SquareLady Patricia Fairfax
1946Piccadilly IncidentDiana Fraser
1947The Courtneys of Curzon StreetKatherine O'Halloran
1948Elizabeth of LadymeadElizabethFilmed in Technicolor
Spring in Park LaneJudy Howard
1949Maytime in MayfairEileen GrahameFilmed in Technicolor
1950OdetteOdette Sansom
1951The Lady with a LampFlorence Nightingale
1952Derby DayLady Helen Forbes
1954Lilacs in the SpringCarole Beaumont / Lillian Grey /
Nell Gwynne / Queen Victoria
Filmed in Eastmancolor (aside from a black and white prologue)
1955King's RhapsodyMarta KarillosFilmed in CinemaScope and Eastmancolor
1956My Teenage DaughterValerie Carr
1957The Man Who Wouldn't TalkMary Randall, Q.C.
No Time for TearsMatron Eleanor HammondDirected by Cyril Frankel; Filmed in Eastmancolor
1958The Lady Is a SquareFrances Baring