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28270
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yago
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https://www.ladbible.com/entertainment/netflix/gentlemen-netlfix-guy-ritchie-films-798460-20240310
|
en
|
Guy Ritchie films and series to binge after finishing The Gentlemen on Netflix
|
https://images.ladbible.com/resize?type=webp&quality=70&width=1200&fit=contain&gravity=auto&url=https://images.ladbiblegroup.com/v3/assets/bltcd74acc1d0a99f3a/blt7baf83973d5aed69/65ede3c0c1bd11040a826c35/guy-ritchie-binge.png
|
https://images.ladbible.com/resize?type=webp&quality=70&width=1200&fit=contain&gravity=auto&url=https://images.ladbiblegroup.com/v3/assets/bltcd74acc1d0a99f3a/blt7baf83973d5aed69/65ede3c0c1bd11040a826c35/guy-ritchie-binge.png
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[] |
[] |
[
"Netflix",
"Guy Ritchie",
"TV and Film"
] | null |
[
"Jess Battison"
] |
2024-03-10T17:09:45.839000+00:00
|
The new series is already number one on Netflix in the UK, adding to Ritchie's long list of film and TV work
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en
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/icons/ladbible/favicon.ico
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LADbible
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https://www.ladbible.com/entertainment/netflix/gentlemen-netlfix-guy-ritchie-films-798460-20240310
|
Now it’s nearly been a full weekend since it came out, you might have already finished binging Netflix’s latest hot drop.
The Gentlemen landed on the streaming site on Thursday (7 March) - with fans raving about the crime drama.
The new series follows Eddie Horniman (Theo James) as he gets a taste for underground crime after inheriting his dad’s country estate – which also happens to be part of a cannabis empire.
And of course, the Netflix show is a spin-off of Guy Ritchie’s 2019 movie, The Gentlemen.
With only eight episodes in the series, it’s more than likely you’ve already finished it and looking for something else to watch.
Luckily, of course, Ritchie has plenty of work to his name that’ll make for the perfect watch next – with one of them even subtley referenced in the series.
So if you are new, then here's some places of where to start:
The Gentlemen (2019)
Well obviously, if you haven’t already watched it, you might as well watch the original film that inspired the Netflix show.
Written, directed, and produced by Ritchie, the movie follows an American grad who tries to sell off his weed empire in London.
The Gentlemen features many big names including Matthew McConaughey, Hugh Grant, Colin Farrell and Charlie Hunnam.
The film isn’t currently on streaming sites in the UK, but you can rent it on Prime Video and Apple TV.
Snatch
With a subtle reference to this in the new Netflix series, the 2000 film is another ensemble work from Ritchie.
Snatch is again set in the ‘underbelly’ of London as two boxing promoters get roped into a diamond heist when a gangster shows up in the city.
The comedy film stars the likes of Jason Statham, Brad Pitt and Stephen Graham.
You can stream Snatch on Netflix.
Operation Fortune: Ruse de Guerre
Another of Ritchie’s films starring both Statham and Grant, the 2023 movie also features Aubrey Plaza, Josh Hartnett and Bugzy Malone.
With a very mixed response from critics, the film sees special agent Orson Fortune (Statham) and his team recruiting a major movie star to help them on an undercover mission.
You can stream Operation Fortune on Prime Video.
The Man from U.N.C.L.E
Based on the 1964 TV series of the same name, Ritchie’s 2015 spy film was another to get a mixed response from critics.
Set during the height of the Cold War, a CIA agent and KGB agent have to put their differences aside to work together and stop a mysterious criminal organisation.
The Man from U.N.C.L.E stars the likes of Armie Hammer, Henry Cavill, Elizabeth Debicki and again, Grant. Oh, and there’s even a cameo from David Beckham.
The film is available to rent on Prime Video and Apple TV.
The Covenant
The 2023 movie is set during the war in Afghanistan as a local interpreter risks their lfie to carry an injured sergeant across miles of gruelling terrain.
The American action-drama features Jake Gyllenhaal, Dar Salim, Sean Sagar and Antony Starr.
You can watch The Covenant on Prime Video.
Lock, Stock and Two Smoking Barrels
Another gangster-crime film from Ritchie, the 1998 film features Statham alongside the likes of Vinnie Jones, Jason Flemyng, Dexter Fletcher and Nick Moran.
It sees four mates play a game of poker and against a local mobster. But when they lose, they’ve got a week to figure out how they’re going to pay back £500,000.
In 2000, a spin-off show launched: Lock, Stock... With a different cast, it featured four mates attempting a different business venture in each episode.
Lock, Stock and Two Smoking Barrels is available to watch on Prime Video.
Ritchie has plenty of other films in his catalogue to binge on if you get through all of this such as Wrath of Man, RocknRolla and Sherlock Holmes.
And if you really fancy it, the live-action Aladdin.
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https://www.tvguide.com/celebrities/guy-ritchie/credits/3030389370/
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Guy Ritchie
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[
"https://www.tvguide.com/a/img/resize/7216fbd7f476a8160041d48c674a14267111b7e3/catalog/provider/10/9/10-5B8ECE90-5A58-4532-8F0C-91B933FE16F7.jpg?auto=webp&fit=crop&height=300&width=200"
] |
[] |
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[
""
] | null |
[] | null |
See Guy Ritchie full list of movies and tv shows from their career. Find where to watch Guy Ritchie's latest movies and tv shows
|
en
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/celebrities/guy-ritchie/credits/3030389370/
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Join or Sign In
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https://en.wikipedia.org/wiki/The_Hire
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en
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Wikipedia
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2003-12-23T04:51:03+00:00
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https://en.wikipedia.org/wiki/The_Hire
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Series of eight short films about BMW automobiles
The HireDirected byWritten byProduced by
Robyn Boardman
Robert Van de Weteringe Buys
Tapas Blank
Tony McGarry
Leon Corcos
David Mitchell
Nicole Dionne
Pelayo Gutiérrez
Aristides McGarry
David Fincher
Dave Morrison
Ridley Scott
Tony Scott
Jules Daly
Skip Chaisson
David Davies
Kimberly Jacobs-Toeg
StarringNarrated byClive OwenCinematographyEdited by
Robert Duffy
Tim Squyres
William Chang
Tom Muldoon
Luis Carballar
Alejandro González Iñárritu
Gabriel Rodríguez de la Mora
Jeff Gullo
Angus Wall
John Gilroy
Skip Chaisson
Julian Clarke
Austyn Daines
Devin Mauer
Music by
Production
companies
Distributed byBMW Films
Release date
2001–2016
Running time
64 minutes (total of all eight films)CountryUSALanguages
English
Portuguese
Spanish
Budget$9 million[2]
The BMW film series The Hire consists of eight short films (averaging about ten minutes each) produced for the Internet in 2001 and 2002. A form of branded content, the shorts were directed by popular filmmakers from around the globe and starred Clive Owen as "the Driver" while highlighting the performance aspects of various BMW automobiles. The series made a comeback in 2016, fourteen years after its original run ended.
Premise
[edit]
This series of short films center on a nameless protagonist, known as "The Driver" (Clive Owen), who is a highly-proficient professional driver of BMW automobiles. The plot of each film varies, but all involve the Driver being hired to perform tasks for various clients, typically to transport important individuals and/or cargo while evading pursuing antagonists.
Summary
[edit]
Season 1
[edit]
Ambush
[edit]
While escorting an elderly man in the middle of the night, the Driver is confronted by a van full of armed thieves and is told that the old man is carrying a large amount of diamonds. The old man claims to have swallowed the diamonds and that the men will likely cut him open to retrieve them. The Driver decides to save his client and attempts to evade the van while being shot at. The Driver eventually baits the thieves into dying in a collision with a parked bulldozer. The Driver delivers the old man to his destination and asks if he really swallowed the diamonds. The client merely chuckles and walks away before the Driver departs.
Starring Tomas Milian
Directed by John Frankenheimer
Written by Andrew Kevin Walker
Featured the BMW 740i[3]
Chosen
[edit]
The Driver is hired to protect an Asian holy child who is brought to America by boat. The child gives the Driver a gift, but tells him not to open it yet. After being pursued by kidnappers and being grazed in the ear by a gunshot, he successfully delivers the boy to a waiting monk. However, the child signals silently to the Driver that the man is an imposter, indicated by his footwear, just visible under his robe. The impostor monk tries to kidnap the child, but the Driver thwarts him and rescues the boy. Before leaving, the Driver opens the gift, which is revealed to be an adhesive bandage for his bleeding ear.
Starring Mason Lee
Directed by Ang Lee
Written by David Carter
Featured the BMW 540i[3]
The Follow
[edit]
Main article: The Hire: The Follow
The Driver is hired by a nervous manager to spy on a paranoid actor's wife. The Driver narrates while following the wife, describing the right methods to survey someone, as well as his fear of what he might learn of the wife's tragic life. He eventually discovers the wife is fleeing the country to return to her mother in Brazil, and that she's been given a black eye—likely by her husband. The Driver returns the job's money to the manager, refuses to tell him where the wife is, and tells him to never call him again before driving off.
Starring Forest Whitaker, Mickey Rourke, and Adriana Lima
Directed by Wong Kar-wai
Written by Andrew Kevin Walker
Featured the BMW 328i Coupé and the Z3 roadster[1][3]
Star
[edit]
The Driver is chosen by a spoiled and shallow celebrity to drive her to a venue. Unbeknownst to her, her manager has actually hired the Driver to teach the celebrity a lesson. Pretending to escape her pursuing bodyguards, the Driver drives recklessly through the city, tossing the hapless celebrity all around the backseat. They eventually arrive at the venue, where she is thrown out of the car and photographed by paparazzi in an embarrassing end on the red carpet.
Starring Madonna
Directed by Guy Ritchie
Written by Joe Sweet and Guy Ritchie
Featured the BMW M5
Powder Keg
[edit]
In a war-torn Latin-American country, war photographer Harvey Jacobs witnesses a massacre and is wounded trying to escape. The UN assigns the Driver to rescue Jacobs from hostile territory. Jacobs tells the Driver about the horrors he saw as a photographer, and his regrets for being unable to help any victims. He gives the Driver the film needed for a New York Times story and his dog tags, which are to be given to his mother. When they reach the border they are confronted by a guard, who becomes hostile when Jacobs is taking pictures and refuses to stop. The Driver drives through a hail of gunfire towards safety, but finds Jacobs has died in the escape. The Driver returns to America to visit Jacobs' mother, returning his dog tags and telling her that Jacobs had won the Pulitzer Prize.
Starring Stellan Skarsgård and Lois Smith
Directed by Alejandro González Iñárritu
Written by Alejandro González Iñárritu, Guillermo Arriaga and David Carter
Featured the BMW X5 3.0i
Season 2
[edit]
Hostage
[edit]
The Driver is hired by the Federal Bureau of Investigation to help defuse a hostage situation. A disgruntled employee has kidnapped a CEO and has hidden her, demanding $5,088,042 for her release. The Driver delivers the money, writing the sum on his hand as instructed by the hostage taker, and is then ordered to burn the money. As he complies, the federal agents break in and attempt to subdue the man, who shoots himself in the head without revealing the woman's location. The Driver surmises the ransom amount is actually the woman's cellphone number, and tracks her location to the trunk of a sinking car. The woman is rescued and brought to the hospital to confront the kidnapper. It is revealed that she and the kidnapper were actually lovers, and the woman coldly tells the kidnapper she only used him for sex before he dies.
Starring Maury Chaykin and Kathryn Morris
Directed by John Woo
Written by David Carter, Greg Hahn and Vincent Ngo
Featured the BMW Z4 3.0i
Ticker
[edit]
In an unnamed foreign country, a man carrying a mysterious briefcase survives an ambush en route to his destination. The Driver rescues and escorts the man while under helicopter attack. During the chase, the briefcase is struck by a bullet, causing it to leak grey fluid and the number on its display to begin counting down. The Driver manages to cause the helicopter to crash, but refuses to proceed without knowing the contents of the damaged briefcase. It is revealed that the man guards a human heart that is to be transplanted into the nation's leader, who has brought peace and prosperity to the country for many years. Should he die, his heir will be a tyrannical army General, whose soldiers had been attempting to stop them the entire time. The Driver finally reaches a military base and brings the heart to waiting surgeons, who successfully save the leader from dying. The General tries to intervene, but realizes he has failed and decides to leave with his men.
Starring Don Cheadle and F. Murray Abraham
cameos by Ray Liotta, Robert Patrick, Clifton Powell and Dennis Haysbert as US agents
Written and directed by Joe Carnahan
Featured the BMW Z4 3.0i
Beat the Devil
[edit]
The Driver is employed by James Brown, who goes to meet the Devil to re-negotiate the deal he made as a young man, in which he traded his soul for fame and fortune. James is worried about his aging and the fact he can no longer perform like he used to. To renew his contract, James proposes that they have a drag race on the Las Vegas Strip at dawn, wagering the Driver's soul for another 50 years of success. The race ends with the Driver swerving to pass a moving train, while the Devil's car (a flamed Pontiac Firebird) crashes and explodes. Having won the race, the Driver leaves James Brown in the desert, but as he drives away he sees him as a young man again. The final scene shows Marilyn Manson, who lives down the hall from the Devil, complaining that the noise is disturbing his Bible reading.
Starring James Brown, Gary Oldman, and Danny Trejo
Cameo by Marilyn Manson
Directed by Tony Scott
Written by David Carter, Greg Hahn and Vincent Ngo
Featured the BMW Z4 3.0i
"The Subplot Films"
[edit]
Four smaller movies, dubbed "The Subplot Movies" were shot and directed by Ben Younger. Lacking any real style (and appearing to be shot with a standard consumer-level DV-cam), they were designed to "fill in the gaps" between the five films and featured a man who appeared to be tracking the Driver, finding "clues" usually scribbled, in pen, on small pieces of paper. The films, at first glance, have no real connection to the Driver movies at all and made no real sense – they contained "clues" that were part of an alternate reality game that would lead intuitive fans to a party in Las Vegas, Nevada.
Season 3
[edit]
The Escape
[edit]
Main article: The Escape (2016 film)
After the disappearance of geneticist Dr. Nora Phillips, the Molecular Genetics company's illegal activities in human cloning become exposed and the FBI raids the facility. One surviving specimen, Lily, is escorted by a ruthless mercenary named Holt to be delivered to an unknown client. The Driver is hired to transport the package with Holt accompanying him, along with an armed convoy of other mercenaries. When the Driver realizes that Lily possesses humanity, he forces Holt to get out of the car. The Driver thwarts Holt and his mercenaries in a pursuit and then drives the girl to a harbor, where she is happily reunited with Dr. Phillips—the unknown client that hired the Driver.
Starring Jon Bernthal, Dakota Fanning, and Vera Farmiga
Directed by Neill Blomkamp
Written by Neill Blomkamp and David Carter
Featured the BMW 5 Series (G30)
Production
[edit]
BMW's idea for the series came from the fact that 85% of its customers shop online before purchasing their cars. If BMW could attract the right kind of traffic to their website, the type of person who enjoys art films from influential directors and actors, they could translate that into sales.[4] BMW stated that John Frankenheimer's film Ronin served as creative inspiration for The Hire series.[5]
On April 26, 2001, John Frankenheimer's Ambush premiered on the BMW Films website and, two weeks later, was followed by Ang Lee's Chosen.[6] Soon after, director Wong Kar-Wai was tapped to make a third film entitled The Follow, a dramatic piece about a runaway wife being followed by "the Driver". The films debuted at the Cannes Film Festival and received mixed reviews, perhaps due to the films' purpose as advertising.[5] It was followed by Guy Ritchie's Star and Alejandro González Iñárritu's Powder Keg.[7][1]
After the series began, BMW saw their 2001 sales increase 12% from the previous year. The movies were viewed over 11 million times in four months. Two million people registered with the website and a large majority of users, registered to the site, sent film links to their friends and family.[8][9] The series was originally created by members of famed indie New York City film studio – Shooting Gallery – such as CJ Follini, Paul Speaker, and Eamonn Bowles.
The films were so popular that BMW produced a free DVD for customers who visited certain BMW dealerships. Due to demand, BMW ran out of DVDs. In September, BMW and Vanity Fair magazine collaborated to distribute a second DVD edition of The Hire in the magazine.[10][7] The Vanity Fair disc did not include Wong Kar-Wai's The Follow. Forest Whitaker had an uncredited part in The Follow and had only agreed to be in the film if it were shown exclusively on the Internet. When the movie was released on DVD, Whitaker allegedly exercised an option in his contract which stipulated that the movie would not be released in any other format without authorization from the actor himself. The Vanity Fair disc, in lieu of carrying The Follow, contained a link to the website with instructions to the viewer to watch the movie online.[11]
The DVD was highly sought on Internet forums after the September 2001 issue of Vanity Fair quickly vanished from shelves and became a rare find. The movies were reviewed by Time Magazine and The New York Times, who praised BMW for creating entertaining content for "discerning movie watchers".[7]
The series continued in October 2002, replacing producer David Fincher with Ridley and Tony Scott due to Fincher's continuing work on Panic Room.
Season 2 debuted with a dark action/comedy piece by Tony Scott called Beat the Devil. The movie, shot in Scott's trademark pseudo-psychedelic style, featured James Brown enlisting the Driver to take him to Las Vegas to re-work a decades-old deal he made with the devil which evidently gave Brown his "fame and fortune".[12]
Some differences were evident. Whereas the first season was serious and subdued with tiny bursts of action and comedy, the second season was all flash and fun. To fit this motif, John Woo and Joe Carnahan were hired to direct Hostage and Ticker, respectively. The other main difference was that, instead of showcasing several different BMW cars (like the first season had done), the only car showcased was the then-new BMW Z4 Roadster.[8]
To celebrate the premiere of the second season, BMW threw a party at the ArcLight Hollywood on October 17, 2002, just a week before the film's internet debut. The party, co-hosted by Vanity Fair, was also a charity and benefit for the homeless.[13][14]
A month after the premiere of Beat the Devil, DirecTV began airing the entire series in half-hour loops for five weeks, on one of the blank satellite channels the system offered. The films were a success and, as a result, DirecTV considered using blank channels to air other companies' ads.[15]
In 2003, BMW decided to make a third (and final) DVD compilation of The Hire. The new DVD made its debut at The Palais des Festival during the 2003 Cannes Film Festival and contained all eight movies, including Wong Kar-Wai's previously absent The Follow.[11][7] Once again, the disc became available at select dealerships but fans could also obtain the disc for a nominal shipping fee via the BMW Films website.
During the last quarter of 2004, Dark Horse Comics and BMW planned to publish a 6-issue comic book limited series based on the main character of the films. The books were written by Kurt Busiek, Bruce Campbell, Katsuhiro Otomo, and Mark Waid as well as other comic book talents.[16] Only four books were produced. "Tycoon" was the last book released (in December 2005). While the comics are still able to be purchased in collector shops and some comic book stores, they are no longer available for purchase on the BMW website.
On October 21, 2005, BMW stopped distribution of The Hire on DVD and removed all eight films from the BMW Films website just four years after the first film debuted.[7] The series was abandoned, reportedly because the project had become too expensive. BMW's Vice President of Marketing James McDowell, originator of the BMW Films project, left BMW to become the VP of sales and marketing for BMW's "Mini USA" division. BMW also split from longtime ad partner Fallon Worldwide which was the creative production outlet for the series and BMW's German division had attempted to become involved with the US division of the company, cutting costs.[17]
The series was viewed over 100 million times in four years and had changed the way products were advertised.[7]
Copies of the DVD are still found in Internet shops and auction sites.[citation needed] The films themselves continue to appear on many torrent searches and viral video sites around the Internet.[citation needed]
In early 2006, BMW released a line of free "BMW Audiobooks" to take advantage of the growing popularity of portable MP3 players (and the fact that most BMW's came with an iPod dock pre-installed in their vehicles). While the stories had the same pulp-action feel as The Hire, the character of "the Driver" was absent. The audiobooks were free (like the films that preceded them) but are no longer available for download from the BMW website.[18]
On February 17, 2007, MINI (BMW) launched a new short film series called Hammer & Coop. The series is a comedic parody of 1970s action-television shows like Starsky & Hutch and Charlie's Angels, and showcases BMW's Mini Cooper line of cars as the featured product.[19]
On September 20, 2016, it was reported that BMW Films has resurrected the series fourteen years after the original production wrapped, with Clive Owen returning to reprise his role as the Driver. The first episode was revealed to be titled The Escape, which premiered on October 23, 2016, on BMW Films' official website.[20]
In 2023 BMW released The Calm, starring Pom Klementieff and Uma Thurman. Produced by Joseph Kosinski and directed by Sam Hargrave, the new film features the BMW i7 M70.[21]
Contest/game & party
[edit]
Shortly after the release of the "Subplot Films", reports circulated around the Internet that Apple, Starbucks, BMW Films First Illinois Mortgage, and Susstones' all had a small, hidden link on their website that had a direct connection with the movies. Upon further investigation, three phone numbers and a web address were found in the four films, which led many viewers to call those numbers and go to that website.
Thousands took to the web, taking place in the hunt but only 250 solved the puzzle, which allowed the lucky few to be entered in a drawing to win a 2003 BMW Z4, seen in Hostage.
The final piece of the puzzle was a voicemail, instructing participants to meet with a correspondent in Las Vegas, the site of a VIP Party for BMW where the Grand Prize Z4 was given away to a couple from Bellingham, Washington.[22][23] The first prize was a BMW Q3.s mountain bike, awarded to a student from the University of New Hampshire.
The game was designed and co-written by Mark Sandau and Russ Stark.[24][25]
Influences
[edit]
Several companies attempted to capitalize on the success of BMW's film series.
In 2002, the Nissan car company produced their own short film featuring their newly introduced 350Z. Entitled The Run, the film was directed by John Bruno, a James Cameron protege who worked with Cameron on True Lies, The Abyss, and Terminator 2: Judgment Day. The film was shown in theaters before feature films in November 2002. Nissan offered a DVD of the film for $9.95.[26]
In 2004, Mercedes-Benz released The Porter, a 15-minute film by director Jan Wentz, starring Max Beesley and Bryan Ferry.
A few years later, Bombardier Recreational Products company introduced a series of short movies on the Internet which showcased their "Sea-Doo" line of personal water craft (PWC)[27] while Covad Business also constructed a campy internet horror film based on their products called The Ringing with the intent of showcasing VoIP technology.[28]
The Transporter was also based on The Hire film series as Luc Besson has said in interviews. In fact, many of the elements seen in The Hire were incorporated into The Transporter, right down to the BMW automobile.[29]
Around the same time The Hire made its comeback in October 2016, the Ford Motor Company produced its very own short film, advertising their new car, the 2015 Ford Edge incorporated into a story, starring Mads Mikkelsen as the titular character in Le Fantôme, directed by Jake Scott, who co-produced the second season of The Hire.[30]
References
[edit]
Further reading
[edit]
Fallon, Pat; Senn, Fred (2006). "Chapter Eight: Choosing the Best Media for the Message". Juicing the Orange: How to Turn Creativity into a Powerful Business Advantage. Boston, Mass.: Harvard Business School Press. pp. 125–146. ISBN 9781591399278. OCLC 62616016.
Kiley, David (2004). Driven: Inside BMW, the Most Admired Car Company in the World. Hoboken, NJ: Wiley. pp. 140–150. ISBN 9780471269205. OCLC 249773457.
BMW Films Archived June 25, 2007, at the Wayback Machine
The Hire at the Internet Archive
BMW films at Fallon
The Hire at Dark Horse Comics
Ambush at IMDb
Chosen at IMDb
The Follow at IMDb
Star at IMDb
Powder Keg at IMDb
Hostage at IMDb
Ticker at IMDb
Beat the Devil at IMDb
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The Gentleman TV Show Release Date, Photos, Plot and Trailer: Everything You Need to Know - Netflix Tudum
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2024-03-08T20:33:06+00:00
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'The Gentleman' is a posh and perilous new TV show by Guy Ritchie. See the first photos of the action dramedy, along with its teaser trailer. Then learn everything you need to know about the plot and premiere.
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https://assets.nflxext.com/us/ffe/siteui/common/icons/nficon2023.ico
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Netflix Tudum
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https://www.netflix.com/tudum/articles/the-gentlemen-show-release-date-photos
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Pour a glass of top-shelf whiskey and put your fists up, because a brand-new Guy Ritchie gangster romp is coming to steal your attention.
Premiering on March 7, The Gentlemen introduces television audiences to a new slice of the world initially brought to life in Ritchie’s 2020 film of the same name. While the characters in the upcoming TV show will be totally different from the movie, The Gentlemen will have all the same bite — along with a bunch of fresh tricks up its well-tailored sleeve, as the new trailer above reveals.
The White Lotus star Theo James leads The Gentlemen as the Duke of Halstead, Eddie Horniman, the estranged son of an English aristocrat who finds himself embroiled in a world of criminality — specifically career criminal Bobby Glass’ (Ray Winstone) industrial cannabis empire on the East End of London. Crawl’s Kaya Scodelario stars as Susie Glass, Bobby’s effortlessly fashionable and ruthless daughter who handles the day-to-day business of the drug operation. Ritchie is at the helm of the action drama as creator, co-writer, executive producer, and director of the first two episodes.
“The world of The Gentlemen is a little bit of me,” Ritchie told Netflix last November. “We’re looking forward to bringing fans back into that world, introducing new characters and their stories, and I am excited to be doing it with this extremely talented cast.”
Ready to step into Ritchie’s posh and perilous new series? Take a peek below to see the first photos of The Gentlemen, and learn everything about the show, from the plot to the premiere date.
Popular Now
New on Netflix
Aug. 12
Status Update
8:30 am
When does The Gentlemen premiere?
All eight episodes of The Gentlemen premiere on March 7.
What is The Gentlemen about?
We meet Eddie Horniman as he inherits his father’s sizable estate… only to discover it’s part of a weed empire. “Understandably, His Grace wants to extract himself from this particular business,” Ritchie told Netflix in the preview featurette, below. Moreover, a host of unsavory characters from Britain’s criminal underworld want a piece of the operation. Eddie tries to play the gangsters at their own game. “And that’s where deals are struck with the underworld that will probably come back to haunt him,” Ritchie continued.
As Eddie gets sucked into that life, he begins to develop a taste for it. But, as Ritchie said, that tension between the aristocratic and the crooked is “where all the fun lies.” After all, he explained, “That’s really what the show is about — the evolution from zoo to jungle, and how to hunt in the jungle.” Will Eddie survive?
Who is in The Gentlemen cast?
In addition to James, Scodelario, and Winstone, the cast includes: Daniel Ings (I Hate Suzie), Joely Richardson (Lady Chatterley’s Lover), Vinnie Jones (Lock, Stock and Two Smoking Barrels), Giancarlo Esposito (Better Call Saul), Chanel Cresswell (This is England), Michael Vu, Max Beesley (Hijack), Jasmine Blackborow (Marie Antoinette), Harry Goodwins (In His Hands: The Emergence), Dar Salim (The Covenant), Pearce Quigley (Detectorists), Ruby Sear, and Peter Serafinowicz (The Tick).
Who made The Gentlemen?
Executive producer and creator Ritchie directs the first two episodes of the series and serves as co-writer alongside EP Matthew Read (Peaky Blinders). Marn Davies, Ivan Atkinson, Marc Helwig for Miramax TV, Will Gould, and Frith Tiplady for Moonage Pictures are also executive producers. Hugh Warren is the series producer.
The Gentlemen Teaser
Can I watch a sneak peek at The Gentlemen?
Be our guest, and welcome to the jungle. You can watch the first 10 minutes of the series premiere here.
Are there any photos of The Gentlemen ?
There sure are — and they’re going to make you want to invest in a fabulous new jacket. Take a look at the sleek images, featuring the formidable cast, sumptuous countryside settings, and one very unexpected chicken costume.
Kaya Scodelario as Susie Glass
Christopher Rafael/Netflix
Theo James as Eddie Horniman
Kevin Baker/Netflix
Daniel Ings as Freddy Horniman
Christopher Rafael/Netflix
Scodelario
Christopher Rafael/Netflix
Vinnie Jones as Geoff Seacombe
The Horniman family
Christopher Rafael/Netflix
James
Christopher Rafael/Netflix
Giancarlo Esposito as Uncle Stan
Max Beesley as Henry Collins
Matthew Towers/Netflix
Joely Richardson as Lady Sabrina
Christopher Rafael/Netflix
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https://jhmovie.fandom.com/wiki/Guy_Ritchie
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Guy Ritchie
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2024-07-29T22:27:06+00:00
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Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct...
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https://static.wikia.nocookie.net/jhmovie/images/4/4a/Site-favicon.ico/revision/latest?cb=20240429013931
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JH Wiki Collection Wiki
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https://jhmovie.fandom.com/wiki/Guy_Ritchie
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English filmmakerTemplate:SHORTDESC:English filmmaker
Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct commercials. In 1995 he directed his first film, The Hard Case, a 20-minute short that impressed investors who backed his first feature film, the crime comedy Lock, Stock and Two Smoking Barrels (1998). He then directed another cockney crime comedy, Snatch (2000).
Ritchie's other crime films include Revolver (2005) and RocknRolla (2008). His British set gangster films have featured emerging stars, such as Jason Statham, Idris Elba and Tom Hardy.[3] He then directed Sherlock Holmes (2009), its sequel Sherlock Holmes: A Game of Shadows (2011) and the live-action adaptation of Disney's Aladdin (2019).
Early life[]
Ritchie was born in Hatfield, Hertfordshire,[2] the second of two children of Amber (née Parkinson) and Captain John Vivian Ritchie (b. 1928), former Seaforth Highlanders serviceman and advertising executive. John's father was Major Stewart Ritchie, who died in France, in 1940, during World War II.[4] John's mother was Doris Margaretta McLaughlin (b. 1896), daughter of Vivian Guy McLaughlin (b. 1865) and Edith Martineau (b. 1866), the latter by whom he shares close common ancestors with Catherine, Duchess of Cambridge.[5] The McLaughlins have a pedigree going back to King Edward I of England.[6][7] Both Ritchie's parents remarried to prominent individuals. His father's second marriage was to Shireen Ritchie, Baroness Ritchie of Brompton, a former model and later Conservative politician and life peer.[8] From 1973 until 1980, when they divorced, Ritchie's mother was married to Sir Michael Leighton, 11th Baronet of Loton Park.[9] As a divorcée, she is correctly styled as Amber, Lady Leighton.[10]
Ritchie, who is dyslexic, was expelled from Stanbridge Earls School at the age of 15.[2] He has claimed that drug use was the reason for the expulsion; his father has said that it was because his son was caught "cutting class and entertaining a girl in his room."[11]
In addition to his elder sister Tabitha, a dance instructor, Ritchie has a half-brother, Kevin Baynton, who was born to Amber Parkinson when she was a teenager and given up for adoption.[12]
Directing career[]
In 1998, Ritchie contacted Peter Morton, of the Hard Rock Cafe chain, as a potential investor for a debut film. Morton's nephew, Matthew Vaughn, had been studying film production in Los Angeles. Peter informed Vaughn of Ritchie's new film idea, and Vaughn agreed to produce. Matthew, John, Guy and Peter asked their mutual acquaintance, Trudie Styler, to invest in the production of Ritchie's second film production following his 1995 short The Hard Case, which Styler had seen and decided that co-funding the project would be a worthwhile opportunity. The production of the film, Lock, Stock and Two Smoking Barrels, was completed in about eight months. Released in Great Britain in 1998 to positive reviews, it became an international success. It starred Nick Moran and also introduced actors Jason Statham, Jason Flemyng and Dexter Fletcher to worldwide audiences, while launching a new acting career for former footballer Vinnie Jones. Ritchie was introduced to Madonna, whom he would later wed, when the soundtrack for the film was issued on her Maverick Records label. In 2000 Ritchie won an Edgar Award from the Mystery Writers of America for Best Motion Picture Screenplay. Ritchie created and produced a spin-off television series called Lock, Stock....[13]
Ritchie's second feature film, Snatch, was released in 2000. Originally known as Diamonds, it was another caper comedy, with a cast including Brad Pitt, Benicio del Toro and Dennis Farina, along with the returning Statham and Vinnie Jones. Similar to Lock, Stock and Two Smoking Barrels the film depicted events from different characters' perspectives: a device which became something of a trademark through many of the director's subsequent films. It has a rating of 73% on Rotten Tomatoes as of 2015.[14]
Following his marriage to Madonna, Ritchie began focusing his filmmaking on his wife, directing her in both a music video (for the song "What It Feels Like for a Girl", a controversial video that showed Madonna engaging in violent behaviour, directed at men, including T-boning a car with three men in it, tasering and robbing a man at an ATM, scratching a police car and shooting two officers with a water gun, driving her car through a group of men playing street hockey and incinerating a man by throwing a lighter into a pool of gasoline) and a short film, Star, for the BMW films series. Ritchie's next film, also featuring Madonna, was a remake of the 1974 Lina Wertmüller hit Swept Away (also entitled Swept Away). Ritchie cast Madonna as a rich, rude socialite who, after a shipwreck, is trapped on a deserted island with a slovenly Communist sailor who humiliates her. Ritchie renamed the woman Amber Leighton after his mother. This film was both a critical and commercial disappointment.[15]
In 2002, Ritchie conceived a hidden camera show called Swag,[16] for Channel Five in the UK, which turned the table on criminals and opportunists by using stunts to trap them in the act. His next project in 2005, a Vegas-themed heist film entitled Revolver starring Jason Statham, was critically panned in the US and UK.[17][18]
In 2008, Ritchie wrote and directed RocknRolla, a more successful return to crime comedy form with an ensemble cast including Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, and Toby Kebbell. It was generally received well with a 60% rating on Rotten Tomatoes.[19] He also directed in 2008 a commercial for Nike called "Take It To The Next Level", about a young Dutch footballer who signs for Arsenal, showing the progression of his career from his viewpoint, until he makes his debut for the Netherlands. The commercial features cameo appearances from some football players with music by Eagles of Death Metal.[20]
Ritchie's Sherlock Holmes was released on 25 December 2009 with Robert Downey Jr. and Jude Law starring as Sir Arthur Conan Doyle's classic detective and his indispensable friend Dr. Watson in a distinctly comic action-oriented updating. The film received generally positive reviews[21] and grossed more than $520 million worldwide,[22].[23] The sequel, Sherlock Holmes: A Game of Shadows, was released on 16 December 2011 and earned an even higher worldwide box office of over $545 million.[24]
In June 2012, it was announced that Ritchie would direct an adaptation of Treasure Island by Robert Louis Stevenson.[25] On 29 October that year, he produced a game trailer for Call of Duty: Black Ops II.[26]
Ritchie directed Warner Bros.' The Man From U.N.C.L.E.[27] as a fairly radical remake of the popular 1960s spy TV series. Filmed in 2013 in London and Italy,[28][29] the film was not released until August 2015.[30] In January 2014, Warner Bros. set Ritchie to direct King Arthur: Legend of the Sword[31] with Charlie Hunnam playing King Arthur by Ritchie's choice.[32] Initially scheduled to be the first of several in a franchise, the film was released in May 2017 but was a box office bomb, so the sequels were cancelled.[33]
The Raindance Film Festival announced in August 2017 that it would honour Ritchie with its 2nd annual Auteur Award, describing him as a "prominent figure" who breathed "new life into the British film industry" with his "cult crime comedies."[34]
Most recently, Ritchie directed Disney's live action adaptation of Aladdin (2019), which he co-wrote with John August. Starring Will Smith, Mena Massoud and Naomi Scott, the film became Ritchie's most successful film financially.[35]
Personal life[]
Ritchie started training in Shotokan karate at the age of seven at the Budokwai in London, where he later achieved a black belt in both Shotokan and Judo.[36] He also has a black belt in Brazilian Jiu-Jitsu under Renzo Gracie.[37] On 18 May 2000, Ritchie was arrested by the police for an alleged assault on a 20-year-old man outside the Kensington home he shared with American singer Madonna, on suspicion of causing actual bodily harm.[38]
On 22 December 2000, Ritchie married Madonna at Skibo Castle in Scotland.[39] They have a son, Rocco John Ritchie (born 11 August 2000 in Los Angeles) and adopted a Malawian baby boy in 2006, David (born 24 September 2005). Madonna eventually filed for divorce from Ritchie in October 2008, citing irreconcilable differences.[40] On 15 December 2008, Madonna's spokeswoman announced that the singer had agreed to a divorce settlement with Ritchie, the terms of which grant him between £50–60 million ($Template:To USD–Template:To USD million), a figure that includes the value of the couple's London pub and Wiltshire estate in England. This would be one of the largest divorce settlements in British history. [41] Madonna and Ritchie issued a joint statement calling the previous announcement "misleading and inaccurate." The financial details of the settlement remained private.[42] Their marriage was dissolved by District Judge Reid by decree nisi at the clinical Principal Registry of the Family Division in High Holborn, London. Madonna and Ritchie entered into a custody agreement for Rocco and David, then aged eight and three, respectively, and divided the children's time between Ritchie's London home and Madonna's in New York, where the two were joined by her daughter Lourdes, from a previous relationship.[43][44]
In February 2011, a £6m house he owns in London's Fitzrovia was occupied briefly by members of The Really Free School, a squatter organisation.[45][46]
On 30 July 2015, Ritchie married model Jacqui Ainsley, whom he had been dating since 2010.[47] They have three children: son Rafael (born 5 September 2011),[48] daughter Rivka, (born 29 November 2012)[2] and son Levi (born 8 June 2014).[47]
Ritchie can speak Hebrew.[49]
Filmography[]
Year Film Director Writer Producer Notes 1995 The Hard Case Yes Yes No Short film 1998 Lock, Stock and Two Smoking Barrels Yes Yes No Also casting director 2000 Snatch Yes Yes No 2001 Star Yes Yes No Segment from the BMW short film series The Hire, Co-written with Joe Sweet 2002 Swept Away Yes Yes No Golden Raspberry Award for Worst Director
Nominated – Golden Raspberry Award for Worst Screenplay 2005 Revolver Yes Yes No 2008 RocknRolla Yes Yes Yes 2009 Sherlock Holmes Yes No No Nominated – Saturn Award for Best Director 2011 Sherlock Holmes: A Game of Shadows Yes No No 2015 The Man from U.N.C.L.E. Yes Yes Yes 2017 King Arthur: Legend of the Sword Yes Yes Yes 2017 Thumbelina Yes Yes No 2019 Aladdin Yes Yes No TBA The Gentlemen Yes Yes Yes Post-production
Uncredited cameos[]
Year Film Role 2000 Snatch Man Reading Newspaper 2008 RocknRolla Man riding bicycle 2017 King Arthur: Legend of the Sword Inn Owner
References[]
[]
Script error: No such module "Side box".
Template:Twitter
Guy Ritchie at IMDb
Guy Ritchie Films directed Lock, Stock and Two Smoking Barrels (1998) • Snatch (2000) • Swept Away (2002) • Revolver (2005) • RocknRolla (2008) • Sherlock Holmes (2009) • Sherlock Holmes: A Game of Shadows (2011) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • Aladdin (2019) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024) Films Producer RocknRolla (2008) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024) Films screenwriter Lock, Stock and Two Smoking Barrels (1998) • Snatch (2000) • Swept Away (2002) • Revolver (2005) • RocknRolla (2008) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • Aladdin (2019) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024)
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28270
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yago
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2
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https://www.avclub.com/guy-ritchie-gangster-etiquette-gentlemanly-warfare-1851425365
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en
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Gentlemanly warfare: Guy Ritchie's gangster etiquette in 8 films and 2 TV shows
|
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2024-04-24T00:48:00+00:00
|
Gentlemanly warfare: Guy Ritchie's gangster etiquette in 8 films and 2 TV shows
|
en
|
AV Club
|
https://www.avclub.com/guy-ritchie-gangster-etiquette-gentlemanly-warfare-1851425365
|
Guy Ritchie’s two-and-a-half-decade career as a filmmaker has been a bit of a mixed bag, and that’s being generous. No one really wants to be pigeonholed, but the fact is that some artists are especially suited to one particular genre, and they do their best work when they stick to it. For Ritchie, that genre is quintessentially British crime capers. Since launching his career with the one-two punch that was Lock, Stock, And Two Smoking Barrels and Snatch (released in 1998 and 2000), Ritchie has dabbled in rom-coms (or whatever Swept Away was supposed to be), period pieces, mysteries, and even a live-action Disney remake. His most recent film, The Ministry Of Ungentlemanly Warfare, is part war film, part spy thriller. But none of those projects (including his latest) have managed to match the entertainment value of his sporadic jaunts through London’s criminal underworld.
One of the reasons why it’s so much fun to visit the worlds Ritchie takes us to in films like RocknRolla, Wrath Of Man, and The Gentlemen (as well as the recent Netflix spinoff) is that he populates them with plenty of interesting characters. Ritchie’s “Mockney” protagonists may be gangsters, crime lords, swindlers, or petty thieves, but we tend to like them and root for them, because they have a code. Those who keep to their code are the most likely to survive to the final credits; those who don’t often come to violent ends. As evidenced by the number of recent Ritchie titles referencing “gentlemen,” he seems to have his own ideas about what constitutes etiquette and civility, and they have nothing to do with the station into which his characters were born.
With that in mind, we thought it would be interesting to look back at Ritchie’s crime oeuvre and put together a guide to gangster etiquette according to Guy Ritchie. For the sake of expediency, we’re excluding his broader fare like The Man from U.N.C.L.E., as well as period films like King Arthur: Legend Of The Sword, and Aladdin, but we are throwing in Sherlock Holmes and its sequel. Because hey, these rules may be inspired by Ritchie’s films, but we’re the ones making them up as we go.
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yago
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https://bookandfilmglobe.com/television/the-gentlemen-begs-the-question-does-guy-ritchie-not-understand-what-makes-his-stories-work/
|
en
|
Does Guy Ritchie Not Understand What Makes His Stories Work?
|
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[
"Cezary Strusiewicz",
"Pablo Gallaga",
"Laura Roberts",
"Sharyn Vane",
"Rachel Llewellyn"
] |
2024-03-28T17:01:06+00:00
|
I don’t claim to be a great filmmaker like Guy Ritchie, but as the father of a kid who used to love playing “spot the differences between the two
|
en
|
Book and Film Globe
|
https://bookandfilmglobe.com/television/the-gentlemen-begs-the-question-does-guy-ritchie-not-understand-what-makes-his-stories-work/
|
I don’t claim to be a great filmmaker like Guy Ritchie, but as the father of a kid who used to love playing “spot the differences between the two pictures” with me, I’ve gotten really good at telling when two things are not the same. And when I look at Ritchie’s Netflix series The Gentlemen, based on the writer-director’s gangster movie of the same name, I simply don’t see an expansion or even a basic continuation of the 2019 film. So much so that I’ve started wondering: Does Guy Ritchie not understand what makes his stories work?
The Gentlemen (2019) was a simple tale of Matthew McConaughey’s character trying to sell his illegal weed empire, told in a wonderfully chaotic way through a combination of Hugh Grant’s high-camp second-hand-narrative and scenes of Colin Farrell beating people up while dressed as your nan’s old couch.
The Gentlemen (2024), on the other hand, is the story of a young duke (Theo James) getting involved with the criminal underworld through the illegal weed business. He also has a high-camp older brother played by Daniel Ings, and there’s even famous British movie tough guy Vinnie Jones hiding somewhere in the background. So all the elements for a proper expansion of the Gentle-verse are here but they never come together the right way. The original film moved at breakneck speed but it was a surprisingly smooth spiel where scenes might have bled (often literally) into each other but ultimately formed a fundamentally fun and franticly frenzied flow.
By contrast, the Netflix series is a disappointingly disjointed display of detached vignettes that Ritchie tells with the steady grace of an attack of the hiccups. It’s also *excruciatingly* slow, to the point where I actually found myself putting it at 1.25x speed to replicate some of that roller-coaster experience you typically get with Guy Ritchie’s movies but, apparently, not with his Netflix shows.
Sadly, The Gentlemen lost more important things during the move to the smaller screen. Another thing that Guy Ritchie does great is action, the kind we sadly see less and less. In an era of movie-action ballet where the violence is gory but also elegant and choreographed to perfection, Ritchie has long been our ever-shrinking oasis of dirty beat ‘em and shoot ‘em-ups that made you wince as often as they made you go “Heck yeah!” And there IS some of that in The Gentlemen (2024), but in disappointingly small amounts. The first real action scene in the show comes at the 37-minute mark… of Episode 2. And it’s a great scene! A guy gets stabbed in the head with a dart! But it’s also missing the hallmark catharsis of the original action.
In the movie, a lot of the violence was kind of… soothing, because it came for knobs who more than deserved it. From Colin Ferrell gonad-kicking annoying teen shitheads who are terrorizing a café, to an attempted rapist whimpering in pants-pissing terror when Matthew McConaughey catches him forcing himself on his wife, the action the 2019 film’s action often brought big, stupid smiles to its audience. Compare that to the Netflix series where, during the first true action scene, Theo James goes up against an underling of a tertiary antagonist, if that. It just doesn’t feel as satisfying.
What’s worse, there are some cathartic kills in The Gentlemen (2024) but a lot of them happen off-screen instead of where they belong: right in our aforementioned stupid grinning faces. Oh, and, almost none of them involve Vinnie Jones, which is somehow the biggest crime in a supposed gangster series.
You could forgive a lot of this or at least begrudgingly accept it because “shows are not like movies and what works in one may not work in another.” It’s a bogus excuse, but even if we go with it, there is one problem that Netflix’s show cannot get around: it’s a completely different story than the film. And, again, it’s not an issue of them being two separate things (which they are; you have my expert word on it) but rather the two being thematically in completely different universes.
The 2019 movie was a story about the lower classes, the underdogs trying to get a leg up in the highly stratified world of the UK class system while also exposing their supposed “betters” as dirty, conniving, lying sacks of shit. It’s a classic story that Guy Ritchie manages to put his own wonderfully violent spin on. The Netflix show, though, focuses on a duke from a privileged family and with that one tiny decision it completely separates itself from that timeless tale. Where once the plot involved people with brains, brawn, and ambition having to work 10 times as hard as incompetents born into the boots stomping on their necks, suddenly you had… some weird off-brand British mix of Succession and Breaking Bad. The chicken breakdown scene is loads of fun, though.
I love Guy Ritchie. It’s a weird thing to say underneath all these negative paragraphs, but it’s true. Ritchie made two of my favorite movies ever (Snatch and Revolver) and I don’t actually believe that he doesn’t know his own strengths. I just think, based on eight hours of painful television, that he doesn’t know how to properly translate what he’s good at to the smaller screen.
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28270
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yago
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0
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https://sg.news.yahoo.com/guy-ritchie-set-direct-young-164200009.html
|
en
|
Guy Ritchie set to direct Young Sherlock show
|
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[] |
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[
""
] | null |
[
"Iona Rowan"
] |
2024-06-02T16:42:00+00:00
|
Guy Ritchie is set to direct a new Young Sherlock show for Prime Video, starring After’s Hero Fiennes Tiffin in the titular role.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo News
|
https://www.digitalspy.com/tv/a60972096/guy-ritchie-young-sherlock-show/
|
Guy Ritchie is set to direct a new Young Sherlock show for Prime Video, starring After's Hero Fiennes Tiffin in the titular role.
The eight-part series, based on Andy Lane’s Young Sherlock Holmes novels, will serve as an "explosive" origin story for Sir Arthur Conan Doyle’s iconic detective (via RadioTimes).
"Sherlock Holmes is disgraced, raw, unfiltered and unformed when he is caught up in a murder mystery at Oxford University which threatens his freedom," reads the official synopsis.
Related: Ray Donovan gets new spin-off show from Guy Ritchie
"Diving into his first-ever case with a wild lack of discipline, Sherlock manages to unravel a globe-trotting conspiracy that will change his life forever."
Matthew Parkhill will write the script, as well as executive producing the series along with Ritchie, Simon Kelton, Ivan Atkinson, Simon Maxwell, Dhana Gilbert, Colin Wilson and Marc Resteghini.
"In Young Sherlock, we're going to see an exhilarating new version of the detective everyone thinks they know in a way they've never imagined before," Ritchie said in a statement.
"We're going to crack open this enigmatic character, find out what makes him tick, and learn how he becomes the genius we all love."
Related: John Krasinski and Natalie Portman team up for Guy Ritchie's new movie
Vernon Sanders, head of television at Amazon MGM Studios, added: "This exciting new chapter about one of the world's best-known literary characters will delight our global customers with its captivating storytelling.
"With the brilliant creative team, led by Guy Ritchie and Matthew Parkhill, we will explore untold mysteries of how young Sherlock found his way to a life of truth-seeking."
Young Sherlock marks a reunion between Ritchie and Tiffin, who recently worked together on Ritchie's action film The Ministry of Ungentlemanly Warfare.
It also marks Ritchie’s return to the Sherlock universe, having previously directed two films starring Robert Downey Jr as the famous detective.
Young Sherlock does not yet have a release date.
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28270
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yago
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2
| 80
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https://www.firstshowing.net/2024/netflix-guy-ritchies-british-crime-series-the-gentlemen-full-trailer/
|
en
|
Guy Ritchie's Netflix British Crime Series 'The Gentlemen' Full Trailer
|
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[
"Alex Billington"
] |
2024-02-22T10:48:17-05:00
|
"I didn't create this problem. I'm trying to help you deal with it." Netflix has debuted the full official trailer for The Gentlemen series, a new streaming offering from filmmaker Guy Ritchie launching this March. Crime meets caviar! Meet the new class of criminals in The Gentlemen. A new British drama series inspired by the
|
en
|
/favicon.ico
|
FirstShowing.net
|
https://www.firstshowing.net/2024/netflix-guy-ritchies-british-crime-series-the-gentlemen-full-trailer/
|
"I didn't create this problem. I'm trying to help you deal with it." Netflix has debuted the full official trailer for The Gentlemen series, a new streaming offering from filmmaker Guy Ritchie launching this March. Crime meets caviar! Meet the new class of criminals in The Gentlemen. A new British drama series inspired by the original 2019 film. Eddie Halstead inherits an estate from his father, unaware it fronts Pearson's drug empire. With no crime experience, he must take over the operation or lose the estate. Ray Winstone stars as Bobby Glass, a career criminal from the East End of London who founded an industrial cannabis empire. The cast includes Theo James as The Duke of Halstead, Eddie, who finds himself embroiled in criminality after inheriting his father's estate, and Kaya Scodelario as Susie Glass, Bobby's effortlessly stylish & steely daughter who runs the empie's day-to-day business; along with Daniel Ings, Joely Richardson, Vinnie Jones, Giancarlo Esposito, Chanel Cresswell, Michael Vu, Max Beesley, Jasmine Blackborow, Harry Goodwins, Dar Salim, Pearce Quigley, Ruby Sear, Peter Serafinowicz. Now that is an epic cast. This looks like some detestable, delectable criminal empire mayhem! "Welcome to the jungle." Enjoy...
Here's the main official trailer (+ more posters) for Guy Ritchie's series The Gentlemen, from YouTube:
You can also rewatch the teaser trailer for Guy Ritchie's The Gentlemen series right here for the first look.
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28270
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yago
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0
| 21
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https://letterboxd.com/film/star-2001-1/
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en
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Star (2001)
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""
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The Driver now carries an arrogant rock star who is visiting a major city (not Pittsburgh as earlier believed). Played by Madonna, this title character wants to get away from her bodyguards in the Driver's BMW. He soon gets tired of her and decides to have a bit of fun.
|
en
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https://letterboxd.com/film/star-2001-1/
|
Action! - A British Romp: Action Guy and The Ritchie Binders
A short film starring Madonna and Clive Owen with a decent dose of action, humour, soundtrack, and possibly a tiny personal vendetta; although, the latter is most likely just my imagination.
Madonna probably delivers her best performance, which isn't saying much, as basically a (realistic?) version of her. Owen does a fine job as this driver for a need for speed who takes no s**t from any star.
The film's mainly one-song soundtrack with the occasional interruption does a good job of injecting a nice dose of energy into the already exciting and enjoyable action set piece. The ending is rather predictable, but that doesn't make it any less funny.
All in all, a thrilling and entertaining short film that manages to pack a lot of amusement into its nine minutes.
TODAY SCHEDULE
She Said
Turn It Up
Star
Swept Away
"But the real heart-stopper that this woman has in her galaxy of talents is her voice. A billion-dollar voice."
Serving as the fourth chapter in the BMW branded series The Hire, a set of promotional shorts from various filmmakers, including Wong Kar-wai, Alejandro González Iñárritu, Ang Lee, and Tony Scott, Star marks the beginning of a turbulent period in Guy Ritchie's career. The projects surrounding the rise and fall of the British writer/director's marriage to singer Madonna are easily the most misguided and conceited of his filmography, epitomized by the dreadful likes of Swept Away and Revolver, two of the worst flicks I've ever seen.
Star is a commercialized precursor to those aforementioned failures, the debut collaboration between husband and…
Another brick in my YouTube Watch Later wall, one of those BMW Driver shorts, this one directed by Guy Ritchie. The main attraction is Madonna having fun playing an obnoxious pop superstar who is systematically automotively humiliated by Clive Owen's Driver, and, by extension, the director, who was also her husband at the time, with a punchline that is too bizarre for me to spoil here. Ritchie finds time for not just one but two hacky needledrop choices in just eight minutes, although maybe that Blur song wasn't quite as overused in 2001 as it went on to be later.
Another short film as produced by BMW for their "The Hire" series. This time it's Guy Ritchie's contribution. Not so much of a plot to this one and it's essentially a one gag film but that gag is very funny and entertaining.
Ritchie incorporates his usual style and music into the mix and you can really get that same vibe from Snatch and Lock, Stock, and Two Smoking Barrels also in this film. I find it funny of the concept Ritchie chose to do this film on as he is essentially mocking and torturing his then wife Madonna and the artificial and egotistical lifestyle of superstars living in the fame. Owen's Driver is more charismatic in this film and actually shows some life in his character (laughed out loud to the look on his face when the car goes airborne). I also laughed when the film literally changes gears and the mayhem ensues.
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http://www.screenonline.org.uk/people/id/857780/index.html
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en
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BFI Screenonline: Ritchie, Guy (1968
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[
"Guy Ritchie",
""
] | null |
[] | null |
Director, Writer
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| null |
Guy Stuart Ritchie was born in Hatfield, Hertfordshire on 10 September 1968 and brought up in London. Beginning as a film runner in Wardour Street, Ritchie eventually moved on to make music videos and commercials before writing and directing a short film, The Hard Case (1995), which he used to set up financing for his debut feature, Lock, Stock and Two Smoking Barrels (1998). Juggling seven separate storylines with great confidence and verve, Ritchie displays a magpie talent, taking inspiration from Peter Collinson's The Italian Job (1969) and the ITV series Minder (1979-94) to tell a fast-moving tale of East End gangsters and gamblers. The film's delight in gangland slang and its sharp eye for fashion and London locations made it an unexpected box-office success. Ritchie served as executive producer on Lock Stock... (2000), a spin-off series of dramas for Channel 4.
Ritchie's follow-up film, Snatch, is more of the same on a bigger budget, but it is let down by a super-abundance of plot and big stars it doesn't know how to handle: Brad Pitt and Benicio Del Toro are often barely recognisable and frequently unintelligible. Although the style is more assured, tedium soon envelops the film's stodgy gallimaufry of a story involving double and triple crosses among jewel thieves, gypsies, bare-knuckle fighters and Ritchie's usual coterie of comic gangland figures.
After his marriage to Madonna in 2000, Ritchie worked with his new wife on a remake of Swept Away (1974), Lina Wertmüller's tart tale of Marxist and sexual politics. Madonna takes on Mariangela Melato's role of a rich and spoiled woman, on a boating trip, stranded on a Mediterranean island with a deck hand (Andrea Giannini: his father Giancarlo had played the role in the original). Ritchie's version (US, 2002), while faithful in terms of plot and character, strips away Wertmüller's irony and trivialises her dark vision with a musical dream sequence to showcase Madonna's talents. It was withdrawn from release in America after a fortnight and went straight to video in the UK.
Lock, Stock and Two Smoking Barrels was one of the most distinctive and energetic British films of the 1990s; Ritchie's return to the genre with Revolver (UK/France, 2005) has the virtue of setting off the gangster film on a different tangent, though not one eagerly embraced by audiences, critics, or other film-makers.
Bibliography
Chibnall, Steve, 'Travels in Ladland: The British Gangster Film Cycle, 1998-2001', in Robert Murphy (ed.) The British Cinema Book, 2nd edition (London, BFI Publishing, 2001)
Dinning, Mark, 'Diamond Geezers', Empire, Oct. 2000, pp. 82-91
Fortnum, Ian, 'We Are the Boys', Neon, Jan. 1999, pp. 43-52
Sergio Angelini, Reference Guide to British and Irish Film Directors
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https://www.imdb.com/title/tt12958702/
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en
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The Hire (Short 2003)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
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"Credits"
] | null |
[] | null |
The Hire: Directed by Joe Carnahan, John Frankenheimer, Alejandro G. Iñárritu, Ang Lee, Guy Ritchie, Tony Scott, Kar-Wai Wong, John Woo. With Clive Owen. Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.
|
en
|
IMDb
|
https://www.imdb.com/title/tt12958702/
|
Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.
|
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https://filmstories.co.uk/reviews/operation-fortune-ruse-de-guerre-review-the-guy-ritchie-cinematic-universe-widens/
|
en
|
Operation Fortune: Ruse De Guerre review: the Guy Ritchie Cinematic Universe widens
|
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[] |
[] |
[
""
] | null |
[
"Simon Brew"
] |
2023-04-07T11:13:15+00:00
|
Jason Statham. Aubrey Plaza. A very mad Hugh Grant. Welcome to Guy Ritchie's new film, Operation Fortune: Ruse Du Guerre.
|
en
|
Film Stories
|
https://filmstories.co.uk/reviews/operation-fortune-ruse-de-guerre-review-the-guy-ritchie-cinematic-universe-widens/
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Jason Statham. Aubrey Plaza. A very mad Hugh Grant. Welcome to Guy Ritchie’s new film, Operation Fortune. The much-delayed new film from Guy Ritchie opens with a fetching pair of trousers. There’s a nice shot of London. A tank, too. A bunch of things thrown together in a manner not unreflective of what’s going to follow. Operation Fortune: Ruse De Guerre is co-writer and director Guy Ritchie back towards the spy genre he had so much fun with in The Man From UNCLE. It’s well known he was planning a follow-up to that, but the box office count said no. Perhaps unsurprisingly, he’s found a new way back in, with a decent enough caper that occasionally finds a bit of spark. And a quality expense account too. That account is in the name of Orso Fortune, played by The Statham, who’s clearly enjoying his time back in the Guy Ritchie Cinematic Universe (the GRCU, we’re up to about phase three). Fortune is an expensive man to hire, but if you’ve got Ukrainian mobster – it was made in different times, perhaps accounting for the lengthy delay in us getting the film – and a mystery device to retrieve, Fortune is your go-to. Well, fortune and the always-wonderful Aubrey Plaza as Sarah Fidel. And then a plan involving a movie star – that’d be Josh Hartnett, as Danny Francesco – who’s brought in as part of the plan. All the while, Eddie Marsan gets the job of counting out how much all this costs (and he’s not happy about it), Guy Ritchie gets to stage a solid enough caper, that plays a bit more conventional than you might expect. There’s a different world in which it would have been Ritchie who made the Kingsman movies, or was hired to direct a Mission: Impossible film. That world is this one in fact, with the globe being trotted and people worrying about cinema’s latest deadly USB stick. Computer nerds, as you’d expect, will be tutting at the lack of a decent firewall, and at encryption that couldn’t stop a toddler loading a Baby Shark video. But in return, you do get Cary Elwes in posh clothes, saying the word “poo”. A lot to be said for that. A good cast then, a budget that affords enough space for some airline tickets, and a few wide open spaces that scream ‘fight scene’ as soon as characters walk into them. What it lacks for long periods is anything particularly distinctive, an identity to call its own. Well, right up until Hugh Grant walks in. Post-Paddington 2 Hugh Grant’s collection of shits that he appears to give is relatively small, and in the case of Operation Fortune, he gives the kind of performance that Modern Hugh Grant has made his own. I can’t work out if he’s walked in from another movie, or taken a look at everything and figured he’s going completely the other way. But he’s rapidly becoming – as I say this as a Statham fan – the most vital component of the GRCU’s third phase. If things are wheezing a bit, just give Hugh a box of acting matches, and see what he can set fire too. He duly does so. A word for Aubrey Plaza of course, even though she’s not particularly well served by the role itself. But still: as watchable as ever. And all eyes next on the phase four of Ritchie’s work, which features the already-shot The Covenant and a live action remake of Disney’s Hercules. Thus far, neither have Hugh Grant involved. Time will tell if that’s a tactical misfire. Operation Fortune: Ruse Du Guerre is streaming now on Prime Video. — Thank you for visiting! If you’d like to support our attempts to make a non-clickbaity movie website: Follow Film Stories on Twitter here, and on Facebook here. Buy our Film Stories and Film Junior print magazines here. Become a Patron here.
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Review: 'Guy Ritchie's The Covenant' a gritty, hard-fought war film
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"Adam Graham, The Detroit News"
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2023-04-19T00:00:00
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Jake Gyllenhaal stars in tale of war and brotherhood which, despite his name being in the title, is a far cry from most of Guy Ritchie's films.
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The Detroit News
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https://www.detroitnews.com/story/entertainment/movies/2023/04/19/review-guy-ritchies-the-covenant-a-gritty-hard-fought-war-film/70131648007/
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Jake Gyllenhaal stars in tale of war and brotherhood which, despite his name being in the title, is a far cry from most of Guy Ritchie's films.
Best known for his tough talking blokes-with-guns British gangster films, Guy Ritchie switches things up with "Guy Ritchie's The Covenant," an oftentimes riveting war film which marks a new path for the 54-year-old filmmaker.
It's not that Ritchie hasn't zagged before; why, there was "Swept Away" with Madonna, and the "Sherlock Holmes" movies, and "Aladdin," and on second thought maybe it's best to not talk about the movies he didn't make with Jason Statham.
But "The Covenant" is wholly different. It's a sober war film about America's War in Afghanistan that acts as a tribute to the interpreters who put their life on the line to help American soldiers, in exchange for an exit out of the country via U.S. visa.
That's the case for Ahmed (Dar Salim), who is hired by a squadron headed up by Jake Gyllenhaal's Sergeant John Kinley. It's March 2018, deep into the U.S. occupation of Afghanistan, and Kinley and his men are tasked with locating Taliban-made IEDs, a thankless, fruitless mission since when one site goes down, another just pops up.
The bigger picture issues of the war and the frustration of the U.S. soldiers on the ground colors the background, as Ritchie focuses on the relationship between Ahmed and John as they're stranded together deep inside enemy territory. When John is wounded, Ahmed makes an impossible journey across the desert terrain, carrying John to safety and saving his life in the process. It's not until John wakes up at home in America that he realizes all that Ahmed has done for him, and he goes about the arduous task of repaying the debt he owes his brother in arms.
Note the use of the world "impossible," since "The Covenant" is a fictional tale, not one based on any kind of true story, even though Ritchie very much bases his story in reality. That doesn't dull the impact of the movie, but it helps clear up any sort of misconceptions about the supersize heroics on display, as well as Ritchie's ability to order up a satisfying ending for his characters, one that may have been tougher to come by in real life.
But Ritchie — with his second film of the year, following last month's "Operation Fortune: Ruse de Guerre" — is a skilled action filmmaker, and he makes full use of the tools in his arsenal to create a gritty, hard-fought war film with purpose. Gyllenhaal and Salim dig in and find the souls in their characters, grounding the film and giving audiences characters to root for, who embody the film's themes of trust, honor and loyalty. Hmm. Maybe Ritchie doesn't need Statham after all.
agraham@detroitnews.com
@grahamorama
'Guy Ritchie's The Covenant'
GRADE: B
Rated R: for violence, language throughout and brief drug content
Running time: 125 minutes
In theaters
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https://www.theguardian.com/film/2024/mar/01/they-were-the-original-gangsters-how-guy-ritchies-the-gentlemen-wages-war-on-the-aristocracy
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‘They were the original gangsters!’ How Guy Ritchie’s The Gentlemen wages war on the aristocracy
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2024-03-01T00:00:00
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King of blokey capers Guy Ritchie is back with a wild tale of a secret weed farm in a stately home – and the duke who gets drawn into a crime gang. Its stars talk about taking on the aristos, training foxes – and why women are bossing things at last
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the Guardian
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https://www.theguardian.com/film/2024/mar/01/they-were-the-original-gangsters-how-guy-ritchies-the-gentlemen-wages-war-on-the-aristocracy
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Since Ritchie’s 1998 debut action comedy caper Lock, Stock and Two Smoking Barrels, his unremittingly laddish MO has helped prop up the patriarchy. It’s spent 25 years busting womankind down to clothes horses or comedy foils, while fast-tracking Jason Statham and even Vinnie Jones into bankable exemplars of British butchness.
The fact that his entertaining new Netflix series is called The Gentlemen, and amounts to a spin-off of his 2019 film of the same name, only underlines the point. Theo James, who plays a duke called Eddie Halstead, doesn’t demur when I put these points to him, but admits to being charmed by Ritchie’s world from an early age: “Lock, Stock was definitely part of my cultural zeitgeist as a teen. [Ritchie] created this British sub-genre with bombastic energy. It made a huge impression – we used to quote lines to each other in sixth form. It was quite seminal at the time.”
No doubt, but more than 25 years on, wouldn’t it be nice if Ritchie gave due representation to that 50%-plus of the population he’s largely ignored? You’d think he’d have the life experience to know strong women exist. This is a man, after all, who is a one-time Mr Madonna.
When I put these concerns to The Gentlemen’s female lead Kaya Scodelario, she nods vigorously. “It was something I was very concerned about, to be honest with you,” Scodelario says. “I insisted that I have a conversation with the showrunners to make sure that she [her character Susie Glass] would be a constant thread throughout the story, that she would have her own arc, that she would be front and centre. I didn’t want her to be swallowed up, which can happen, especially in a lot of Guy’s previous work.”
The child star of E4’s Skins, who has spent the past 15 years working Stateside, here plays a singular character. Susie Glass is not just glamorous but has more brains than all the show’s men put together. She plays a woman who runs a crime business, illicitly producing and selling weed while her crime boss dad (Ray Winstone, naturally) does a stretch at His Majesty’s cushiest open prison. The show is called The Gentlemen, but its key protagonist is a woman.
Another female star, Joely Richardson, who plays posh widow Lady Sabrina Halstead, tantalisingly describes the show as “putting Downton Abbey and Peaky Blinders in a blender”. When undeniably hunky duke Eddie inherits his father’s estate, he returns from the army to find his country pile is propped up, not by the family yoghurt farm he’d supposed, but by the Glass’s cannabis factory built secretly beneath the dairy. The stately homes of England, as Noël Coward realised a long time ago, are frequently mortgaged to the hilt. But what Coward never imagined is that at least one family of Brit aristo would see off the bailiffs by installing a massive criminal enterprise in the grounds, managed by (no offence) an East End oik.
For Theo James, there’s something else in the blender. “Not that we would ever think to emulate The Godfather, because in my mind it’s one of the greatest movies of all time. But the idea of a relatively moral man returning to a family but then slowly his soul is corrupted – that was a touchpoint.” Duke Eddie is a tweedy British retread of Al Pacino’s Michael Corleone: the duke wants to get his family out of the drug game but, just when he thinks he’s out, they keep pulling him back in.
James, best known for The White Lotus, says he struggled to play Eddie sympathetically. This is a curious admission, given that James is speaking to me during a lunch break in filming of an adaptation of Stephen King’s The Monkey in which, rather demandingly, he plays both of the twin brothers who find a toy monkey in the attic that may be associated with a spate of murders. “It’s kind of hyper-violent, but also comedic in a kind of Gremlins way if you remember that movie,” he says.
I have a certain disdain for the aristocracy. I came to it with the view that the aristocracy is responsible for an ingrained class system that has wreaked havoc on British culture for the last 300 years. They’re at least as criminal as the drug underworld.” He also struggled to play the duke to the manner born. “There was a moment when I got my bags out of the car and Guy said: ‘Don’t even think of doing that! You’re degrading your butler’s job. It would never cross Eddie’s mind to carry his own bags.’”
The Gentlemen undeniably plays with the British class system, chiefly by ramping up the sexual tension between Eddie’s hunky duke and Susie’s streetwise crim. “We had in mind Bruce Willis and Cybill Shepherd in [1980s crime drama] Moonlighting,” says James. “They worked together and yes there was sexual tension, but you can never resolve it.” So Eddie and Susie can never have a relationship? “Not without destroying the drama.”
When Scodelario walks into shot you know that any mere man or invertebrate toff who fails to take her seriously is making the biggest mistake of their lives. “Susie is probably the closest to my actual background of any character I’ve ever played,” says Scodelario. “I’m very working class. I’m the daughter of an immigrant who worked two or three jobs.”
One of the most striking things about The Gentlemen, indeed, is how several of its leads plunder their past lives for material. That great stalwart of Ritchie’s work, Vinnie Jones, the proverbial hardman memorialised by two images: grabbing Gazza’s knackers in a 1987 match between Wimbledon and Newcastle, and with two shotguns crisscrossed over his shoulders in the publicity stills for Lock, Stock, – here reverts to the mellow nature boy he was in his youth. Jones was raised in a bucolic idyll near Watford, Hertfordshire. “When I tell people I’ve never taken a drug in my life, they’re like, ‘What?’” he tells me. “But, as youngsters, it wasn’t our way. There was no fucking cocaine and stuff like that. Our way of getting high was finding a bird’s nest or getting a ferret that didn’t bite your hand off. Our hard drug was training a buzzard.”
Jones channels this rustic youth into his character gamekeeper Geoff Seacombe, loyal retainer to the Halsteads. When Duke Eddie visits his employee for tea, Jones shows off a menagerie of injured animals he’s nurturing, including a fox. Foxes, I ask Jones, can’t really be domesticated, can they? “Not really,” says Jones, “but Guy thought it would be funny. He visited me at home once and I had lots of animals living with me. Foxes are very scatty. They’ll come out to one person but as soon as anybody else comes, they’ll run under the bed or hide, you know, and then you can coax them out. But once it’s female season, you’ve got to watch them. They’re out and about, you know?” Quite so.
This serene persona of Geoff, Jones hopes, will transform TV executive’s perspective on the former footballer as he diversifies from go-to meathead to sensitive flower. “They just think of me as a hardman who’s going to fight bears in Russia, you know? They can’t think beyond the stereotype. I really want to make a nature programme like Jack Hargreaves.” I’ve even built a log cabin in my garden we could use for filming.”
This is a giddy enough mutation, but in The Gentlemen there is more. Those of you who have been pining since Gustavo Fring cleaned his last deep fat fryer at Los Pollos Hermanos are in for a treat. Ritchie has reincarnated Giancarlo Esposito’s endearing/terrifying drug dealer for this series. He plays Stanley Johnston, a successful African American meth dealer – the very line of work Fring pursued in Breaking Bad and Better Call Saul. In the Gentlemen, Johnston is an anglophile who longs to buy Eddie’s country pile, not to mention the outbuilding whose basement (just like the one Fring built under a laundry in Albuquerque) is a drug factory hidden from prying eyes.
This is compelling enough, but better is the speech that Ritchie and Matthew Read wrote for Esposito that skewers a thousand years of British history. “Do you know what I love about the British aristocracy?” asks Esposito rhetorically over drinks with Duke Eddie. “They’re the original gangsters. The reason they own 75% of this country is because they stole it. William the Conqueror was worse than Al Capone. When he came over from France he grabbed hold of everything he could get his hands on and then he set up a system so that he and his friends got to hold on to it for ever. Taxation. Education. The judiciary. It’s all designed to help the aristocracy to hold on to their land and their money.”
It must be lovely, I suggest to Esposito, to be a person of colour sticking it to Brits on their home turf and explaining our nation’s contribution to global white supremacy and structural racism?
By way of an answer, Esposito tells me a story. “When I first came to London, many years ago, I got off the plane with a white girlfriend who had blond hair down to the waist. As I walked through the customs hall, a bobby, with the hat, everything, walked next to me, just staring at me. I never paid attention to him whatsoever, because I kept in my conversation with the lady I was with. He didn’t say a word, but he sure tried to intimidate me.”
Welcome to London, I say to Esposito. “Yeah. And so it’s very special to be a person of colour to change the way people look at people who are black or brown.
“I wanted to work in Europe for a long time, and with Guy Ritchie in particular. But I never thought I’d get to play an important role like this. I’m playing one of the world’s richest men, who happens to be a black African American, but who carries himself with grace and aplomb, and is a good businessman.” Props to Ritchie for flipping that script, I say. “I absolutely agree. It changes the view of who we are as African American and Black people, right? We can combat the idea that it is just white people who run things. Or are elegant. Or are intelligent.”
The real gentleman of the show is not the duke in his mansion, nor the razor boys and herberts of this United Crimdom, but rather an elegant black man from the wrong side of the pond.
“It’s changing from how it was when white people dominated to the world being dominated by those who are the smartest, most intelligent, carry the most grace and are … ” Esposito pauses for effect, takes his voice down a few notes and looks at me seriously, “ … wily, shrewd and brutal.” Which, in four words, sums up not just Esposito’s character but the whole appeal of The Gentlemen.
The Gentlemen is on Netflix on Thursday 7 March
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Guy Ritchie Movies
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Eddy persuades his three pals to pool money for a vital poker game against a powerful local mobster, Hatchet Harry. Eddy loses, after which Harry gives him a week to pay back 500,000 pounds.
Though perhaps a case of style over substance, Guy Ritchie's second crime caper is full of snappy dialogue, dark comedy, and interesting characters.
Muddled and lacking the political context of the original, Swept Away offers further proof that Madonna can't act.
When a Russian mobster orchestrates a crooked land deal, millions of dollars are up for grabs, drawing in the entire London underworld into a feeding frenzy at a time when the old criminal regime is losing turf to a wealthy foreign mob.
Mixed reviews for Guy Ritchie's return to his London-based cockney wideboy gangster movie roots, but most agree, it's a step in the right direction following two major turkeys.
Detective Sherlock Holmes and his stalwart partner Watson engage in a battle of wits and brawn with a nemesis whose plot is a threat to all of England.
Guy Ritchie's directorial style might not be quite the best fit for an update on the legendary detective, but Sherlock Holmes benefits from the elementary appeal of a strong performance by Robert Downey, Jr.
Detective Sherlock Holmes is on the trail of criminal mastermind Professor Moriarty, who is carrying out a string of random crimes across Europe.
Sherlock Holmes: A Game of Shadows is a good yarn thanks to its well-matched leading men but overall stumbles duplicating the well-oiled thrills of the original.
In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons.
The Man from U.N.C.L.E. tries to distract from an unremarkable story with charismatic stars and fizzy set pieces, adding up to an uneven action thriller with just enough style to overcome its lack of substance.
Robbed of his birthright, Arthur comes up the hard way in the back alleys of the city. But once he pulls the sword from the stone, he is forced to acknowledge his true legacy - whether he likes it or not.
King Arthur: Legend of the Sword piles mounds of modern action flash on an age-old tale -- and wipes out much of what made it a classic story in the first place.
Aladdin, a kind thief, woos Jasmine, the princess of Agrabah, with the help of Genie. When Jafar, the grand vizier, tries to usurp the king, Jasmine, Aladdin and Genie must stop him from succeeding.
Aladdin retells its classic source material's story with sufficient spectacle and skill, even if it never approaches the dazzling splendor of the animated original.
An American expat tries to sell off his highly profitable marijuana empire in London, triggering plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him.
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Inspired by Guy Ritchie’s BMW M5 short film “The Hire”, I took the opportunity to create my first short film in 3 years. This short film was shot during...
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Inspired by Guy Ritchie’s BMW M5 short film “The Hire”, I took the opportunity to create my first short film in 3 years. This short film was shot during...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/ParamountVisuals/videos/inspired-by-guy-ritchies-bmw-m5-short-film-the-hire-i-took-the-opportunity-to-cr/2783359221929173/
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28270
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yago
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3
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https://discussions.apple.com/thread/254843655
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en
|
Why do I need to buy content when I alrea…
|
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en
|
https://communities.apple.com/en20240731/public/assets/favicon.ico
|
https://discussions.apple.com/thread/254843655
|
With a subscription as expensive as AppleTV why do I still need to spend even more money to watch any of the good movies or shows? It doesn’t seem fair to make your subscribers pay so much so many times. Seems pointless to have a subscription just to pay more on top of that.
I just went through this last night. I had tagged half a dozen movies to watch, but when I went to watch them, none of them would play. When I click "HOW TO WATCH" it says you can buy, rent, or subscribe. I do subscribe, so what's the problem?
That’s not true at all. Never once has Netflix charged me for any of their content with a subscription. The options for Disney+ for buying or renting are only when said movies are still in theaters. Since most appletv productions don’t go to theater that makes it completely different from what other subscriptions do. Hulu and peacock offer far more than appletv. So I say again, it isn’t right that all the good new options from your company are making you pay extra for something that shouldn’t cost anything to subscribers. Maybe to the people wanting to rent without subscribing. I get that. But your subscription is too expensive and wants to charge more and more for the opportunity to view something that should be free with a subscription.
I subscribed to Apple TV because I wanted to finish watching the The Expanse. Like most of you I found out that post season 2, they're going to charge me $2.33 for each episode. In the 90's I was an enthusiastic Apple guy. Not any more. Apple's got a rotten core now.
There is no double charging. The Apple TV app hosts more content than just the Apple TV+ subscription catalog. The subscription is not for the app (the app itself is free), but for access to the Apple Originals a.k.a Apple TV+ catalog. Buying or renting movies or TV shows is separate from the subscription. One does not require the other. See Apple TV+ as an in-app subscription channel.
With the Apple TV app on your smart TV or third party streaming device, you can access:
iTunes Store movies and TV shows (buy or rent);
Apple TV+ channel featuring Apple Originals [1] [2], by subscription;
select other premium Apple TV app Channels, each by subscription [US list].
Buy/rent prices are set by the supplying studios, and pretty much on par with every other content provider with buy/rent content. I.e. no honest reason to think of that as excessive, compared to anywhere else.
The "Napoleon" movie is part of the "Apple TV +" subscription content. The movies that require you to rent or buy are not part of the subscription.
The subscription is only for "Apple TV +" content except when Apple offers subscribers limited-time to watch movies that are normally not part of the subscription. Such as the 50 limited-time to watch movies that are available now for March & April 2024
Alex Sim wrote:
There is so little content anyway even if it was all free not worth £8.99 a month
I have used Prime, Paramount+, Hulu and so far Apple TV+ offers far better quality content than any of those other services. I don't consider old TV shows found on those other apps a reason to pay more for a service just to claim they have more content.
You are given a free trial when you sign up to Apple TV+ for the first time to give you the opportunity to see if you like the content and if you don't, then just cancel and move on with your day. It's not that difficult and everyone is perfectly capable of deciding for themselves.
kforseth wrote:
This is complete BS. It is not OK to charge a lot of money for a subscription and then to charge huge sums in addition to that for your content. I know you are trying to justify this but it does not wash.
Your Apple TV subscription only includes original Apple content. That's it. Nothing else. If you want content that comes from some other outlet, you need to buy it. It's just like if you subscribe to the New York Times, you don't get the books from the New York Times Bestseller list for free.
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28270
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yago
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2
| 59
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https://www.the-sun.com/tv/11023683/netflix-the-gentlemen-talks-series-two/
|
en
|
Future of hit Guy Ritchie series The Gentleman revealed after show becomes one of Netflix's biggest shows of the year
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[
"Rod McPhee",
"TV Editor"
] |
2024-04-07T14:30:00-04:00
|
NETFLIX is already in talks with film director Guy Ritchie to deliver a second series of his gangster drama, The Gentlemen.The crime comedy has been o
|
en
|
The US Sun
|
https://www.the-sun.com/tv/11023683/netflix-the-gentlemen-talks-series-two/
|
NETFLIX is already in talks with film director Guy Ritchie to deliver a second series of his gangster drama, The Gentlemen.
The crime comedy has been one of the streaming giant’s biggest hits of the year, with 44million views in four weeks.
Bosses hope creator Guy, 55, can reunite the cast, including lead Theo James, Kaya Scodelario, Ray Winstone, Daniel Ings and ex-footie hardman Vinnie Jones.
A TV insider said: “It’s going to be quite a challenge getting the same actors back together, but Netflix chiefs are keen for a sequel.
“Another hurdle will be securing Guy for the series as he already has several movie projects in the pipeline this year.
"But the success of series one has already convinced them there’s huge potential for a follow-up.”
The series is a spin-off from the 2019 film of the same name — also created by Guy — which starred Matthew McConaughey.
Vinnie was in Guy’s 1998 debut film Lock, Stock and Two Smoking Barrels, and follow-up Snatch in 2000.
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0
| 40
|
https://www.amazon.com/prime-video/actor/Guy-Ritchie/amzn1.dv.gti.a6700871-79f7-42b2-880a-7f9c98180d3f/
|
en
|
Guy Ritchie: Movies, TV, and Bio
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Browse Guy Ritchie movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
|
en
|
https://www.amazon.com/prime-video/actor/Guy-Ritchie/amzn1.dv.gti.a6700871-79f7-42b2-880a-7f9c98180d3f/
|
Guy Ritchie was born in Hatfield, Hertfordshire, UK on September 10, 1968. After watching Butch Cassidy and the Sundance Kid (1969) as a child, Guy realized that what he wanted to do was make films. He never attended film school, saying that the work of film school graduates was boring and unwatchable. At 15 years old, he dropped out of school and in 1995, got a job as a runner, ultimately starting his film career. He quickly progressed and was directing music promos for bands and commercials by 1995.
The profits that he made from directing these promos was invested into writing and making the film The Hard Case (1995), a 20-minute short film that is also the prequel to his debut feature Lock, Stock and Two Smoking Barrels (1998). Sting's wife, Trudie Styler, saw The Hard Case (1995) and invested in the feature film. Once completed, 10 British distributors turned the film down before it eventually was released in the UK in 1998 and in the US in 1999; the film put Ritchie on the map as one of the hottest rising filmmakers of the time, and launched the careers of actors Jason Statham, Jason Flemyng, and Vinnie Jones, among others.
Lock, Stock and Two Smoking Barrels (1998) was followed by Snatch (2000), this time with a bigger budget and a few more familiar faces such as Brad Pitt, Dennis Farina, Benicio Del Toro alongside returning actors Jason Statham, Vinnie Jones and Jason Flemyng. At the end of 2000, Ritchie married the pop superstar Madonna in Scotland, and proceeded to work with his famous wife on a variety of film and video projects, including the short Star (2001), made for BMW and co-starring Clive Owen, and the controversial video "What It Feels Like for a Girl," which was called out for its violence. In 2002, the couple embarked on a remake of the 1974 Lina Wertmüller film Swept Away (2002); the new film was a critical and commercial flop, winning five Razzie Awards. Ritchie followed up with the Vegas heist film Revolver (2005), which was panned, but won favor with the crime thriller RocknRolla (2008), which featured a game, energetic cast and brought American attention to rising stars Gerard Butler and Tom Hardy.
The next year saw the release of Sherlock Holmes (2009), starring Robert Downey Jr. in the title role and Jude Law as his cohort Dr. Watson. The film received mostly good reviews but, more important for Ritchie's career, was a solid blockbuster hit that grossed more than $520 million dollars worldwide and spawned a sequel, Sherlock Holmes: A Game of Shadows (2011). Ritchie is tentatively scheduled to direct an adaptation of Robert Louis Stevenson's Treasure Island.
Ritchie has two sons with Madonna: Rocco, born in 2000, and an adopted son, David, born in 2005. In late 2008, the couple confirmed reports that they were splitting up, and agreed to a divorce settlement that was finalized in December of that year. In September 2011, Ritchie's girlfriend, model Jacqui Ainsley, gave birth to a son, Rafael, and in July 2012 the couple announced they were expecting their second child.
|
||||||
28270
|
yago
|
0
| 56
|
https://www.threeifbyspace.net/2023/03/review-guy-ritchies-operation-fortune-is-fun-and-has-mike/
|
en
|
Review: Guy Ritchie's "Operation Fortune" is fun and has Mike!
|
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2023-03-01T15:01:14+00:00
|
Its back to spy movies again and this time instead of going straight to Netflix, this one will be going into theatres this friday March 3rd. The Guy
|
en
|
Three If By Space
|
https://www.threeifbyspace.net/2023/03/review-guy-ritchies-operation-fortune-is-fun-and-has-mike/
|
Its back to spy movies again and this time instead of going straight to Netflix, this one will be going into theatres this friday March 3rd. The Guy Richie film features an all star cast including a familiar face in the spy/hitman/hired gun genre, Jason Statham. So did Ritchie’s third such genre film back to back pay off? Check out my thoughts below.
Elite spy Orson Fortune must track down and stop the sale of a deadly new weapons technology wielded by billionaire arms broker Greg Simmonds. Reluctantly teamed up with some of the world’s best operatives, Fortune and his crew recruit Hollywood’s biggest movie star, Danny Francesco, to help them on their globe-trotting mission to save the world.
Review
Guy Ritchie’s movies have a certain style to them, and he loves to bring back his favorite cast members across multiple films. Operation Fortune is no exception. In a film that fits into the spy genre, Ritchie seems to have a desire to focus on it with the last 3 films in the last 3 years being dedicated to that genre. Of course this features an all star leading cast that includes Jason Statham, Hugh Grant, Aubrey Plaza, Josh Hartnett and Cary Elwes.
Starting with the plot, the film is nothing revolutionary. Secret weapon is stolen from a lab and unknown parties and we must stop it from getting sold on the black market. So the secret miltary services of Britain must find and stop the sale of this weapon. But where Ritchie tries to make it unique is that nobody knows what was stolen, and another team that is frequently used by the government is also in toe for it, leading to some not so friendly competition among the two teams. The reveal of the item stolen at the end was the weakest part of the plot. They gave very little thought to it and only really threw it out as an afterthought. Frankly by that point in the film, nobody really cared about it anymore.
Casting for the film was interesting to say the least but ended up landing a few well paired groups overall. Aubrey Plaza has a very specific type of humor and character’s she plays but I am happy to say here she expands on that and playing opposite Statham’s Fortune their styles pair up very nicely and result in some fairly hilarious exchanges throughout the film. I have to admit its been a long time since I have really seen Josh Hartnett in anything but here he plays an actor who plays himself in order to infiltrate the bad guys inner circle (Hugh Grants character). This reminds me of the Nick Cage film that was recently released with Pedro Pascal. Its a trope in the spy genre that has been a bit overplayed. Harnett and Grant’s pair up though was again a perfect mix of styles and character personalilties that made it interesting. I do feel that Cary Elwes was under used in the film overall.
You might catch cast members who have appeared in previous films of Guy Ritchies, like Hugh Grant (The Gentlemen), or Statham (Wrath of Man). This follows a similar trend for many of his films but the running gag that had me smiling the most was “Which Mike?”. In the King Arthur film there was a scene in which the leads were joking with one of the black leg sargents about which Mike he was talking about. Because apparently there were a lot of Mike’s. Well the same actor who played Mercier in that film (Peter Ferdinando), plays Mike in this film. So the connections there are fun to catch.
Overall it was an enjoyable spy film that erred on the side of comedic over serious, but finds itself sitting dead center in a sea of spy films that have over saturated the genre. Still if you are a fan of Guy Ritchie, or even films like Red Notice or The Gentlemen, Operation Fortune is a fun film to sit back and enjoy, though I might recommend waiting until it hits streaming.
|
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28270
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yago
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2
| 18
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https://www.yahoo.com/entertainment/guy-ritchie-makes-rare-tv-124606109.html
|
en
|
Guy Ritchie makes a rare TV show with ‘The Gentlemen’: review
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[
"Lauren Sarner"
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2024-02-27T12:46:06+00:00
|
For anybody who wants a gangster story that doesn’t take itself too seriously, “The Gentlemen” is a rollicking good time.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
|
Yahoo Entertainment
|
https://nypost.com/2024/02/27/entertainment/guy-ritchie-makes-rare-tv-show-with-the-gentlemen-review/?utm_source=yahoo&utm_campaign=nypost&utm_medium=referral
|
Ladies and gentlemen, Guy Ritchie has made a TV show.
The Netflix series “The Gentlemen,” like his 2019 movie of the same name, is one of the filmmaker’s first-ever small-screen projects. (His only other show was the 2000 British miniseries “Lock, Stock…”)
Premiering March 7 and created by Ritchie, 55, “The Gentlemen” series is a spinoff of the 2019 movie (starring Charlie Hunnam, Hugh Grant, Colin Farrell and Matthew McConaughey).
But the series is a new story with a new cast, and doesn’t require knowledge of the eponymous film.
Set in England, it follows Eddie Horniman (Theo James, “The White Lotus”), who unexpectedly inherits a huge country estate that’s been in his family since the 1500s — after his ne’er-do-well party-boy older brother, Freddy (Daniel Ings, “Lovesick”), gets passed over in their father’s will, much to Freddy’s ire.
In the first episode, when Eddie asks Freddy how their ailing father is doing, Freddy replies, “His goose is well and truly cooked” in the typically irreverent tone that will be familiar to viewers of the creator’s past work.
After his unexpected inheritance, Eddie is in for an even bigger shock when he learns that the estate is home to a cannabis empire that his father has allowed to flourish, in exchange for a cut of the profits. He soon crosses paths with a bunch of sketchy characters from the British criminal underworld, such as Susie Glass (Kaya Scodelario, “Skins”), who presides over the operation and isn’t happy that Eddie isn’t as cooperative and hands-off as his dad.
This is the show’s main connection to the movie, since that introduced a world where cannabis labs are on the lands of aristocratic landlords (who need the money for the upkeep of their estates).
Rounding out the cast of characters is suave dealer Stanley Johnston (Giancarlo Esposito); estate gamekeeper Geoff (Vinnie Jones, a frequent staple in Ritchie projects), and Eddie’s chilly mother, Lady Sabrina (Joely Richardson, “Nip/Tuck”).
At first, Eddie wants to extricate his family from this situation, but before long, he finds that he’s got a knack for this (under)world.
All of Ritchie’s projects share some qualities: They’re propulsive, fun, chaotic, coarse, irreverent and full of fast-talking men (or “lads,” as his characters would say) on the wrong side of the law.
“The Gentlemen” fits into that mold. The director-screenwriter has made some odd divergences in recent years, such as 2019’s live-action “Aladdin,” and his decent but under-appreciated attempts at period pieces (2015’s “The Man from U.N.C.L.E” and 2017’s “King Arthur: Legend of the Sword”). But he’s at his strongest in the contemporary British gangster genre, such as his 1998 movie “Lock, Stock and Two Smoking Barrels” and 2000’s “Snatch.”
“The Gentlemen” is a return to his roots. But clearly, with Susie’s character, Ritchie is also attempting to make it slightly less of a “lad” fest and give a meatier part to a woman, to varying degrees of success.
The plot gets convoluted at times, with a sprawling cast and lots of double-crossing — as is customary in most of Ritchie’s stories. The vague connection to the movie also may be unnecessarily confusing to some viewers, who might wonder if they need to watch the film before the show.
Nevertheless, for anybody who wants a gangster story that doesn’t take itself too seriously, “The Gentlemen” is a rollicking good time.
|
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28270
|
yago
|
0
| 6
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https://www.amazon.com/BMW-Films-Presents-Hire-Short/dp/B000GV1VRE
|
en
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Amazon.com
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Enter the characters you see below
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28270
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yago
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https://www.timeout.com/news/guy-ritchie-has-a-new-espionage-film-out-and-you-probably-havent-heard-of-it-021423
|
en
|
Guy Ritchie has a new espionage film out and you probably haven’t heard of it
|
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[
"Phil de Semlyen"
] |
2023-02-14T16:39:00+00:00
|
Jason Statham and Hugh Grant star in the ‘Snatch’ director’s new action-thriller
|
en
|
/static/images/favicon.ico
|
Time Out Worldwide
|
https://www.timeout.com/news/guy-ritchie-has-a-new-espionage-film-out-and-you-probably-havent-heard-of-it-021423
|
‘I've swallowed enough microchips and shit them back out again to make a computer.’ So said Jason Statham’s secret agent in Spy. Well, Statham is back in the hard-drive-making business in Guy Ritchie’s new espionage comedy-thriller, Operation Fortune: Ruse de Guerre, as a superspy tasked with taking down an evil arms dealer played by Hugh Grant.
But we’re burying the lede here. The bigger news is that Guy Ritchie has a new film out and you probably haven’t heard of it, and the British filmmaker has enough of a golden touch at the box office to make that a reasonably big deal. With the notable exception of King Arthur: Legend of the Sword, Ritchie has a reliable hit rate. Even his last collaboration with Statham, the pandemic-delayed and mainly straight-to-VOD The Wrath of Man, was a hit.
The wrinkle here? Due to issues with its original distributor, the film comes much-delayed and half-released – it’s already made $28 million in certain European territories – and it’s release schedule remains, shall we say, unorthodox.
But Ritchie fans will be reassured that the Londoner is back playing in his sandpit here: guns, quips, OTT performances, the odd wig, some big explosions, punches, snipers, a few more snappy asides, and a lot of sexy international locations.
Here’s what you need to know, you lavverly people.
When will Operation Fortune: Ruse de Guerre be released?
The movie is released in US theaters on March 3. In the UK, Ireland and France, it’s heading straight to streaming and debuts on Amazon Prime April 7.
Who is in the cast?
Headlining this one is Ritchie’s old Snatch, Lock Stock and Two Smoking Barrels and Wrath of Man mucker, Jason Statham. The Stath is joined by Aubrey Plaza, Josh Harnett, British rapper-turned-actor Bugzy Malone, Eddie Marsan and Westley himself, Cary Elwes.
What do we know about the Operation Fortune plot?
Until recently, Operation Fortune went by the name ‘Five Eyes’, a reference to that hush-hush five-nation intelligence alliance that sees US, UK Canada, Australia and New Zealand sharing top secret intel IRL. In the movie, Statham’s superspy Orson Fortune – presumably a Five Eyes operative – will be tasked with tracking down and preventing the sale of a lethal new kind of weapons system. Behind that scheme is Grant’s billionaire arms trafficker Greg Simmonds.
Behind Fortune, meanwhile – and much to his annoyance – is a couple of fellow spies played by Plaza and Bugzy Malone. Together, they must recruit Simmonds’ favourite movie star, Danny Francesco (Harnett), to play along and entice the weapons baron into fessing up to his crimes and revealing his scheme – the ‘ruse de guerre’ of the title. It’s The Night Manager meets Three Amigos!
Ritchie co-wrote the screenplay with his The Gentlemen and Wrath of Man collaborators Ivan Atkinson and Marn Davies.
Is there a trailer?
There is and you can watch it below.
The 101 best action movies of all time.
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28270
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yago
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https://www.inverse.com/entertainment/operation-fortune-review
|
en
|
'Operation Fortune' Review: Guy Ritchie's Latest is an Entertaining Ode to Bygone Action Movies
|
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""
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[
"Alex Welch"
] |
2023-03-01T15:00:25+00:00
|
Guy Ritchie's newest film certainly isn't his best, but it is a whole lot of fun. Here's Inverse's review of 'Operation Fortune: Ruse de Guerre.'
|
en
|
/favicon.ico
|
Inverse
|
https://www.inverse.com/entertainment/operation-fortune-review
|
Operation Fortune: Ruse de Guerre, the new film from Guy Ritchie, is a perfect cable movie. The film is, in many ways, a worthy follow-up to Ritchie’s two most recent efforts, 2021’s Wrath of Man and 2020’s The Gentlemen. Like those two titles, Operation Fortune is a perfectly fine mid-budget thriller that aspires to do nothing more than deliver pure, unadulterated entertainment. The film doesn’t take itself seriously, which makes it easier to keep one’s expectations for it at a reasonable level.
It also makes accepting the unevenness of Operation Fortune a slightly easier task. The film looks and feels, at times, like every other mid-budget thriller that Ritchie has made. At other times, Operation Fortune looks surprisingly cheap. The film features sequences in hotel rooms and private airplanes that are lit so poorly and so flatly composed, that it’s hard not to wonder whether Ritchie was hamstrung by unexpected budget constraints and simply failed to adequately adapt to them.
Either way, Ritchie’s origins as a late ‘90s and early 2000s action director have, perhaps, never been clearer than they are in Operation Fortune. The film is an inoffensively modest comedic action romp that is, to put it bluntly, immensely watchable. It feels designed to be a movie someone could turn on at any point, get sucked in, and finish without feeling like they just wasted 90 minutes of their lives.
In short: They just don’t make them like this anymore.
Directed and co-written by Ritchie, Operation Fortune doesn’t waste much time setting up its threadbare plot. The film’s first scene introduces Nathan Jasmine (a scenery-chewing Cary Elwes), a private security contractor who is hired by Knighton (Eddie Marsan), a British government official, to find a stolen technological device known only as “The Handle.” As viewers learn in Operation Fortune’s exposition-heavy opening minutes, the Handle was recently stolen by a gang of mobsters who intend to sell it on the black market.
In order to recapture the device and discover its buyer, Elwes’ Nathan has to get in close with Greg Simmonds (Hugh Grant), the greedy, billionaire arms dealer who is brokering the sale of the Handle. Nathan won’t be able to put a stop to Simmonds’ latest sale alone, though. With that in mind, the British contractor puts together a crew of security operatives, including Orson Fortune (Jason Statham), a British spy with expensive taste; Sarah Fidel (Aubrey Plaza), a sarcastic American hacker; and J.J. Davies (Bugzy Malone), an unassuming but capable spy.
Together, Fortune, Fidel, and Davies blackmail and kidnap Simmonds’ favorite movie star, Danny Francesco (Josh Hartnett), and convince him to help them infiltrate Simmonds’ private operation. As far as plots go, Operation Fortune’s makes it undeniably reminiscent of last year’s The Unbearable Weight of Massive Talent, which similarly felt like an ode to the kind of simple, competently made thrillers that Hollywood rarely produces these days. Despite its convoluted nature, Operation Fortune’s plot is also, in true ‘90s action-movie fashion, little more than a vehicle to get its central crew from one action setpiece to another.
With its endless comedic banter and breezy, slickly choreographed and edited action sequences, Operation Fortune feels like a spiritual sequel to Ritchie’s underrated 2015 spy thriller, The Man from U.N.C.L.E. That film famously mined comedic gold out of its cast’s perfectly over-the-top performances, and Ritchie pulls off a similar feat in Operation Fortune. The filmmaker has, to his credit, always had a knack for assembling charismatic on-screen ensembles, and the crew he puts together in Operation Fortune is no exception to that rule.
As Orson Fortune, Jason Statham remains one of the few working action stars who can still sell the brutality of his fight sequences. Every punch and elbow he throws in Operation Fortune feels deadly, which only makes the film’s hand-to-hand combat scenes land that much harder. Ritchie also remains one of the only directors who knows how to tap into Statham’s comedic edge, and the filmmaker’s decision to pair Statham’s Orson with Plaza’s Sarah proves to be an unexpected stroke of genius.
Plaza’s usual deadpan, wise-cracking persona is fully present in Operation Fortune, and the White Lotus star emerges as a perfect comedic foil to Statham. Of all of the film’s stars, though, it’s Grant who makes the biggest impression. The former rom-com heartthrob continues his recent streak of scene-stealing supporting performances as Greg Simmonds, who gets to deliver a monologue near the end of Operation Fortune that Grant chews up and spits out with devilish glee. He, like many of Operation Fortune’s stars, seems to be having the time of his life on-screen, which only makes the film’s clear budgetary constraints all the more disappointing.
The film is so jaunty and confident that it’d be easy to imagine a world in which Statham, Plaza, Malone, and Elwes’ crew got to return for another on-screen adventure one day. That’d be the case, at least, if the strange cheapness of Operation Fortune’s first 30 minutes didn’t seem to so resoundingly, if silently, imply that it barely manage to get off the ground in the first place. The film, consequently, feels like both a tribute to the easily likable, low-commitment action flicks of the 1990s and 2000s and a depressing reminder that they have essentially vanished from the current Hollywood market.
That’s especially disappointing considering how just how keenly Operation Fortune understands the experience it’s supposed to provide. The film boasts an innate understanding of the kind of surface-level pleasures that Hollywood at large seems to have forgotten, like the fact that any chase — no matter how big or small — is automatically made a little bit better if the vehicle at the center of it is a totally impractical but visually stunning, hot-rod-red muscle car.
As a director, Ritchie still understands how details like that can raise a film’s entertainment value, and if there’s one thing that can be said about Operation Fortune: Ruse de Guerre, it’s that it goes down easy — as it should.
|
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28270
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yago
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2
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https://www.rottentomatoes.com/celebrity/guy_ritchie
|
en
|
Guy Ritchie
|
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Explore the filmography of Guy Ritchie on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/celebrity/guy_ritchie
|
Though he may have enjoyed cultivating his image as a bad boy from the wrong side of the tracks, British filmmaker Guy Ritchie's roots were in England's upper class. Nonetheless, Ritchie directed some of the most stylish caper comedies about blue-collar thugs and other lower-class misfits ever to emerge from his native land. Starting with "Lock, Stock and Two Smoking Barrels" (1999), the director arrived onto the filmmaking landscape with a unique twist on an old genre that employed flashy camera moves, punchy dialogue tinged with thick Cockney accents, and a seemingly endless series of double-crosses that landed a motley crew of East End thugs in more trouble than they ever wanted. Ritchie built on the attention he received from "Lock, Stock" with a second London crime saga, "Snatch" (2000), which some complained was nothing more than a variation on his previous film. Though he temporarily became a laughingstock - along with his pop megastar wife, Madonna - for their dismal remake "Swept Away" (2002), Ritchie nonetheless had tried something different. He soon reinvented himself as a capable director of mainstream Hollywood fare with hits like "Sherlock Holmes" (2009) and "The Man from U.N.C.L.E." (2015).
|
||||
28270
|
yago
|
2
| 75
|
https://www.scmp.com/lifestyle/entertainment/article/3254381/guy-ritchies-netflix-thriller-comedy-series-gentlemen-gives-crime-movie-director-chance-broaden-his
|
en
|
Guy Ritchie’s Netflix thriller-comedy series The Gentlemen gives crime movie director the chance to broaden his storytelling and characters
|
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[
"Guy Ritchie",
"Theo James",
"The Gentlemen"
] | null |
[
"Associated Press"
] |
2024-03-06T16:32:14+08:00
|
The maker of frenetic crime films including Sherlock Holmes and Snatch, Guy Ritchie directed the first two episodes of Netflix series The Gentlemen. Cast members talk about working with the British director.
|
en
|
https://assets-v2.i-scmp.com/production/favicon.ico
|
South China Morning Post
|
https://www.scmp.com/lifestyle/entertainment/article/3254381/guy-ritchies-netflix-thriller-comedy-series-gentlemen-gives-crime-movie-director-chance-broaden-his
|
When we first meet the hero of Guy Ritchie’s new Netflix series, he’s not exactly what you’d expect from a Ritchie hero. He’s a peacekeeper for the United Nations, under orders to de-escalate tensions. Can that really last, this being a Guy Ritchie series? Doubtful.
The Gentlemen, a captivating mix of menacing thriller, satire, soap opera, gangster caper and absurdist humour, will eventually have blood splashing on walls, but it delights in the promise of violence more than the acts themselves.
“Like Jaws,” says cast member Max Beesley. “You don’t see that shark for an hour and a quarter of the film. But the idea of it is terrifying, you know? And I think that’s quite clever.”
The Gentlemen, a sort of British take on Breaking Bad, follows an English aristocrat who inherits his family’s asset-rich but cash-poor estate and farm only to discover that it also has a massive secret weed farm, run by gangsters. At the same time, he urgently needs to bail his bumbling older brother out of massive debt to even more gangsters.
How the newly titled duke navigates this criminal underworld propels the eight episodes. “Without knowing it, you have stepped into a world that you are not familiar with,” he is told. The series begins streaming on Thursday.
Theo James stars as the duke, and loved the “idea of a man falling down a rabbit hole and learning to love violence and power and what that means”.
James says: “He thinks he knows power because he’s been in the army and he’s part of the aristocracy, but he realises power comes in many different forms.”
The Gentlemen has Ritchie’s typical examinations of criminality, but it’s less hyperkinetic and frantic than many of his films like Lock, Stock and Two Smoking Barrels, allowing scenes to breathe and characters to deepen. The body count is even lower.
“We’re used to seeing Guy Ritchie in 90 minutes – it’s hard cuts and bombastic, which this is. But we had to make sure that we had characters that felt that they could live through eight episodes and beyond,” says James.
The series has been spun off from the writer-director’s 2019 film of the same name and features con jobs, a man dancing in a chicken suit, the always-welcome presence of Vinnie Jones, manic murder chases, gagged hostages, a Lamborghini heist, some beheadings and a soundtrack of choirs chanting religious text.
“We’ve just been given a much bigger canvas,” says Beesley. “The strokes are as thick, the paint is as thick. It’s just a multi-multifaceted bit of drama that incorporates everything that I think audiences like – drama, comedy, action. It’s all in there.”
In Ritchie’s world, the low-class gangsters who wear tracksuits are the same as the snooty upper classes who wear US$50,000 three-piece suits – both groups cultured enough to appreciate the design of a classic Mercedes and a properly decanted 2002 Romanée-Conti.
“He’s making the point that the British landed gentry aristocracy really are the original gangsters of the British class society,” says Daniel Ings, who plays the duke’s older brother. “There’s kind of like a need to fight for survival in both of those worlds.”
The series also stars Joely Richardson, Giancarlo Esposito, Shane Walker and Kaya Scodelario, who plays Susie, a very cool but very no-nonsense underworld captain, who says things like: “Once you start the killing, you have to finish the killing.”
“It was one of the rare times where I instantly knew I wanted to play this character with every fibre of my being. I kind of loved her immediately and wanted to get under her skin. I just knew that I could bring something to her and that she would be exciting,” Scodelario says.
“Especially in this world – this Guy Ritchie universe where a lot of times the focus has been on these male characters – I thought it would be really fun and interesting to introduce Susie, who can kind of go toe to toe with all of them.”
The series – written by Ritchie and Matthew Read and with the first two episodes directed by Ritchie – enjoys refinement with aggression, which is the title of the pilot episode and could be Ritchie’s calling card here. There is also his characteristic quirky sense of humour.
“Finding that line between the ridiculous and the benign – finding hilarity, but not too hard on the silliness so the stakes are not lost, but then finding drama but not too dramatic so it becomes melodramatic in any way – weaving that line was always a very specific and quite complex thing to do,” says James.
The cast hopes the series can find a worldwide audience despite being rooted in the grand estates of England. It is, after all, about more than a just a duke bluffing his way through the world of criminals.
“The heart of it for me is that it’s a family drama,” says Scodelario. “It’s all these different families realising that they all need each other to coexist, and they want to protect their family above everything else. And I think that’s just a really interesting narrative.”
|
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14228
|
yago
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2
| 7
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https://pt.findagrave.com/memorial/8488564/aldo-ray
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en
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1991) – Find a Grave Gedenkstätte
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Actor. He received fame as an American actor of film and television. Born Aldo DaRe, he was singled-out by a Hollywood scout, who at first was interested in his brother Guido, but he seemed to have a better voice, according to his mother's story. His voice was low and raspy. At the time, he had been elected to the...
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https://de.findagrave.com/memorial/8488564/aldo-ray
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14228
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1
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https://www.senselesscinema.com/2018/11/haunted.html
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en
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Senseless Cinema: "The Voice of His Blood Crying Out to Me from the Ground"
|
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[] |
[] |
[
""
] | null |
[] | null |
Greetings! Senseless Cinema reviews mostly horror movies and films often (erroneously) considered to be bad.
|
https://www.senselesscinema.com/favicon.ico
|
https://www.senselesscinema.com/2018/11/haunted.html
|
Greetings! You may call me Doctor Pseudonymous. Because that is my name. Too often have I heard some horror and fantasy movies described as so strange they must be from another universe. Indeed, they are from another universe! I have perfected a way to travel from my universe, designated Universe-Prime, to your strange and primitive Universe-X to set you straight about these movies. Prepare to reconsider your senseless views on cinema.
|
||||||
14228
|
yago
|
3
| 41
|
https://www.swearingenfuneral.com/obituaries/elizabeth-odonnell
|
en
|
Elizabeth O'Donnell Obituary 2016
|
https://cdn.tukioswebsites.com/social/facebook/fb_3/da545212-d9e4-4cbf-a611-3706b9b6d481/77215dd07b5512a90710daf8ea960962_2826740ab4e58dbafde71d95dc866089
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https://cdn.tukioswebsites.com/social/facebook/fb_3/da545212-d9e4-4cbf-a611-3706b9b6d481/77215dd07b5512a90710daf8ea960962_2826740ab4e58dbafde71d95dc866089
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[
""
] | null |
[
"Swearingen Funeral Home"
] |
2024-05-16T13:32:22
|
She extends her hand to the poor, Yes she reaches out her hands to the needy. She opens her mouth with wisdom, and on her tongue is the law of kindness. She watches over the way...
|
en
|
https://cdn.filestackcontent.com/hpQqSivuTPW33RhskSPl
|
Swearingen Funeral Home
|
https://www.swearingenfuneral.com/obituaries/elizabeth-odonnell
|
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14228
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yago
|
0
| 14
|
https://citizenscreen.tumblr.com/post/656372157139599360/jeff-donnell-and-husband-aldo-ray-having-a-bit
|
en
|
Jeff Donnell and husband, Aldo Ray, having a bit...
|
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"Citizen Screen"
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[
"citizenscreen"
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2021-07-11T01:01:08+00:00
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Jeff Donnell and husband, Aldo Ray, having a bit of fun in the pool in 1955.
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https://64.media.tumblr.com/avatar_782ecbe93f0b_128.pnj
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Citizen Screen
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https://www.tumblr.com/citizenscreen/656372157139599360/jeff-donnell-and-husband-aldo-ray-having-a-bit
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Doris Day on vacation in Spain, 1950s
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Thelma Todd and Charley Chase in a scene from the 1930 comedy short, WHISPERING WHOOPEE
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Billboard published its first singles record chart on July 20, 1940. The first No. 1 record on this chart was “I’ll Never Smile Again” by “The Tommy Dorsey Orchestra” with...
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hellooldsmelly:
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Yul Brynner during the filming of Anthony Quinn’s THE BUCCANEER (1958)
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Jack Benny, Bette Davis, Boots Mallory and her husband Herbert Marshall, and Coleen Gray chatting at a party at the Beverly Hills Hotel in 1952. #DailyBette
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Bette Davis and Elizabeth Taylor at the Filmex Tribute to Elizabeth Taylor at the Dorothy Chandler Pavilion, November 1981. #DailyBette
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Bette Davis portrait for Warner Bros. circa 1932, she signed her contract with the studio. #DailyBette
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Photo via norashelley
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14228
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yago
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1
| 19
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https://elcinema.com/en/person/2156122/
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en
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Actor Filmography، photos، Video
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Aldo Ray - Actor Filmography، photos، Video
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en
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elCinema.com
|
https://elcinema.com/en/person/2156122/
|
Biography
An American actor born in Pennsylvania. He began his career as a signed actor with Columbia. He mostly appeared in low budget B-list films but also starred in a few A-list films like The Sicilian (1987). Other notable works of his include We're No Angels (1955), Pat and Mike...Read more (1952), The Day They Robbed the Bank of England (1960), and The Secret of NIMH (1982). His last film was Shock 'Em Dead (1991). He won an AFAA for Best Actor for his role on Sweet Savage (1979). He married 3 times and had 4 children. He died of throat cancer and pneumonia on 27 March 1991 in Martinez, California.
|
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14228
|
yago
|
0
| 55
|
https://www.wikidata.org/wiki/Q714010
|
en
|
Aldo Ray
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American actor (1926-1991)
|
en
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/static/apple-touch/wikidata.png
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https://www.wikidata.org/wiki/Q714010
|
4 May 2014
4 May 2014
|
|||||
14228
|
yago
|
3
| 57
|
https://www.filmcomment.com/article/gloria-grahame/
|
en
|
Gloria Grahame
|
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[
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2015-08-21T21:43:40+00:00
|
In praise of the naughty mind
|
en
|
https://www.filmcomment.com/wp-content/themes/filmcomment/dist/img/favicon.ico
|
Film Comment
|
https://www.filmcomment.com/article/gloria-grahame/
|
Not long before she died in 1981 at age 57, Gloria Grahame, who had acted in films signed by Frank Capra, Nicholas Ray, Josef von Sternberg, Vincente Minnelli, Elia Kazan, Fritz Lang, and Fred Zinnemann, demolished them all in one sweeping statement. “Those men never directed me,” she told an English stage director with whom she was currently working. “I’d go home and work on it with my mother, then come in and shoot it, and that would be that.” If she gave credit to anyone other than her mother, a Shakespearean actress-become-Los Angeles-drama coach, it was to Bill Watts, her dialogue director on the 1947 Crossfire. A dialogue director's job is to learn lines with actors, presumably in accordance with a director’s interpretive notions, but this one apparently did much more with Grahame. Watts, she told the Brit entertainment mag Time Out in 1978, “first made me realize how to play movies. It’s thinking... All he did was talk to me about who the character was, where she was, what she was, until I was so immersed in what it was all about. After that, maybe I just did it for myself.”
Of course, Grahame was by this time largely a figure of celluloid memory: she was the flirtatious goofus of Zinnemann’s Oklahoma!, but, more typically, she was the Ur-noir siren (of Lang’s The Big Heat, in particular) whose cracked, lispy purr issued from an odd, tortured, liberally painted mouth poised somewhere between sadism and masochism. So maybe she was trying to discourage her interlocutors’ nostalgia—for her former self, her films and their directors—in order to focus on the theater work she was doing. Maybe she specifically wanted to avoid discussion of her work with Ray and the natural segue into their tumultuous marriage and its even more tumultuous aftermath. Or maybe she was speaking the subjective or objective truth (or some amalgam).
But like it or not, Grahame was a regular auteur baby. Though never a major star (only a major minor one), with her offcenteredness, her combination of reflective cool (“It’s thinking”) and startling immediacy (who/where/what), she attracted more Pantheon directors than supernovas Davis or Crawford ever did. And even if those named above, plus studio-era craftsmen like Crossfire’s Edward Dmytryk and producer-directors like Cecil B. DeMille and Stanley Kramer, did little more than hire Grahame, let her follow her instincts, frame her (not, it seems, always an easy proposition) and shoot her, they’ve got to be given their due. Singly or collectively, they gave us a record of a talent that, upon reexamination, is emotionally wider and deeper and technically more accomplished than even I—a confirmed Grahame fan—first supposed.
Though L.A.-born, Grahame spent two years in theatrical road companies and on Broadway (including a stint understudying Miriam Hopkins, Tallulah Bankhead’s never-ill The Skin of Our Teeth replacement) before she signed an MGM contract in 1944. The story goes that MGM not only underused Grahame but didn’t know how to use her. In fact, most of the five films she did there between 1944 and 1947 combined the sirenish and comic modes that would later separate rather definitively in The Big Heat and Oklahoma! Trouble is, comic vamps are almost necessarily supporting roles—or were at post-Harlow, family-valuing Metro in the mid-Forties. So while Grahame’s debut role as the titular temperature raiser in the “B” Blonde Fever (44) and her marvelously stupid silent-screen temptress in Merton of the Movies (47) were fairly substantial, she had only 60 seconds of screentime as a flower-allergic flower-seller in the Tracy-Hepburn Without Love (45). But there were two looniest to RKO, the first to play Violet Bick, a more dimensional sister of her MGM comic sirens, in Frank Capra’s It’s a Wonderful Life (46).
As Violet, one of the people whose lives would have been disastrously different had James Stewart’s George Bailey never lived, 22-year-old Grahame gives us, in seven snapshot-like scenes covering 17 years, the evolution of a flirt into a full-scale roundheels. In the early years, she is unrequitedly besotted with George, though capable of (comic) dudgeon after she discovers she’s ditched two good time Charlies to accept George’s offer of a platonic pastoral stroll. Later, as part of the group that sees off George and Mary (Donna Reed) on their honeymoon, Grahame brings her hand to her mouth in a touchingly ambiguous gesture. Does Violet feel joy for them? Sorrow for her single self? We don’t know. Later still, Grahame’s harrowingly electric as the wildly flailing, hoarsely shrieking, paddywagon-bound 35ish trollop of her 15-second had-George-never-lived (and given her a fresh-start loan) scene.
In late ’46 or early ’47, Grahame began “to work on her looks surgically,” according to Suicide Blonde, Vincent Curcio’s valuable biography of the actress. (That title is crazily apt, even though Grahame was only intermittently blonde and she neither committed nor drove anyone else to commit suicide, onscreen or off.) The surgical work, which continued over a decade, was mostly on her mouth, about which she was apparently very ambivalent. Curcio says that Grahame thought the ridges in her upper lip “too angular, too deep.” Yet she seemed to heed Diana Vreeland’s dictum about taking your worst flaw and painting it red, for in no way did the surgeries or the lacquering of the results normalize her mouth. To begin with, at least, Grahame found a highminded professional rationale for her self-alteration in Russian film theorist Lev Kuleshov’s belief that facial immobility was an asset in screen actors. Grahame, says a Curcio source, “had the [first] operation to make her lip more static.” She shows off the result in Crossfire, her second RKO loanout and a turning point in her career.
Grahame worked two days on Edward Dmytryk’s 20-day, $500,000 attack on anti-Semitism enveloped in a murder mystery, and she always considered the result—ten minutes of screentime, divided between two meaty scenes—her best work. In her first scene, Grahame, as a B-girl named Ginny, passes some professional Lime with a young soldier (George Cooper) wrongly suspected of murdering a Jew. She starts out perversely prickly when the soldier tells her she reminds him of his wife, folding tenderly into him while dancing, and inviting him to her place for spaghetti. In her second scene, being questioned about the encounter by homicide dick Robert Young, she does a dense, corkscrew figuration on her prickly-pliant spectrum. She goes from hostile-defensive (she’s especially affronted by the respectability of the soldier’s wife, played by Jacqueline White) to sympathetically helpful and even wistful (about the spaghetti she never got to cook) to, in a startling final twist, nastily shrewish.
If, as written, Ginny is a checklist of tough-tender noir-flooze conventions, Grahame’s sometimes measured, sometimes turn-on-a-dime emotional transitions shred the list. And they seem to come from somewhere other than a screenwriter’s Underwood. For heeding so well her dialogue director’s words about “thinking” and the who/where/what of her character (and, one would like to say, whatever idea Dmytryk had time to contribute), Grahame was nominated for a 1947 Oscar as Best Supporting Actress.
Having little way to exploit the noir talents Grahame showed in Crossfire, MGM freed her to sign a contract with noir-oriented RKO, in mid-1947. Within a year, RKO, fatefully, had her at work on the second lead, but the pivotal troublemaking character, in Nicholas Ray’s A Woman’s Secret (49).
The film, Ray’s first after his stunning debut with They Live By Night, has many grace notes, but he didn’t want to do it and ultimately couldn’t overcome his lack of conviction, or the confusions of Herman J. Mankiewicz’s noir mystery/ love story/success saga/domestic comedy script. Still, A Woman’s Secret is a nice enough showcase for Grahame. She’s the songbird protegée of songbird manquée Maureen O’Hara and composer Melvyn Douglas, and rather interestingly she’s not ambitious, smooth, or practiced, as Mankiewicz frère’s Eve Harrington would be the next year. Instead, she’s a lazy, uncouth “natural” talent who’s more acted upon than active, but is no less able than Eve to screw up the lives of better, worldlier people. Grahame brings a feckless, prattling charm to the role; she makes self-involvement and moral idiocy deeply funny.
With a short first marriage to actor Stanley Clements already behind her, Grahame married Ray in June 1948 and bore him a son an eyebrow-raising five and a half months later. Then, on loan from RKO to Columbia, she played the lead in Ray’s In a Lonely Place (50). Whatever this movie started out to be, it became a haunting meditation on the transformative power of love and the final impossibility of love. With a dose of special pleading: Artists need more forgiveness for bad or crazy conduct, more love and trust, than ordinary mortals. As Curcio’s Suicide Blonde explains it, “Through Ray’s extensive rewriting the film paralleled the disintegration of [the Ray-Grahame] marriage, which began just as the cameras began to turn.” (The couple wouldn’t divorce until 1952.) Curcio adds that Ray once admitted in print that the film is not an objective account of his relationship with Grahame but “his perspective” on it.
So, early in her relationship with violent-tempered screenwriter Dixon Steele (Humphrey Bogart), Grahame’s Laurel Gray is self-possessed and even stately, a wryly tender comrade and a professional inspiration. Among other things, she inspires Steele to write the line, “I was born when she kissed me, I died when she left me, I lived a few weeks while she loved me.” Grahame has probably never projected a more attractive temperament onscreen. It’s a lighter, drier, less insolent version of Lauren Bacall’s in her pictures with Bogart (at one point Bacall was going to play the role) and a rebuke to those who thought or still think Grahame couldn’t do leads unless they were trampy, nasty, or nutty.
Soon enough, Steele, who’s been a murder suspect all along, starts acting wacky to raise the trust issue, and much as the film may represent “his perspective,” Ray does right by Grahame as both character and actress. He provides her with a touching, and rare-for-her, opportunity to reach out to another female (Jeff Donnell, her real-life best female friend at the time); to play fuzzy panic as she accepts a marriage proposal from Bogart through a sleeping-pill hangover; and finally, after her foundationless distrust is revealed to Bogart and he leaves her forever, to reprise his earlier line, “I lived a few weeks while you loved me.” And to add: “Goodbye, Dix.” It’s one of cinema’s most moving farewells.
Under protest from Grahame, who cited the “great critical and popular acclaim” for her lead in Place in a telegram to RKO owner Howard Hughes, she was cast in a secondary role in Josef von Sternberg’s Robert Mitchum-Jane Russell vehicle Macao (52). No Shanghai Express (or even Shanghai Gesture), Macao is nonetheless an amusingly junky trifle, and Grahame’s seven-minute role counts as one of its assets. As a gambling-house dealer, she gels to toss off a few wisegal quips; wear an absurdly memorable gown whose jewel-encrusted sleeves terminate in gloves, also jewel-encrusted; and to share, for the first time, the screen with the very apposite Mitchum. Their characters never meet in Crossfire—though Mitchum was even then a quasi-in-law, his brother having married Grahame’s sister—and we want more of them together here. We want, especially, to know how come Grahame sacrifices self-interest to help Mitchum, who understandably asks: “Why are you doing this?” To Grahame’s credit, the sad-loser wistfulness she puts into her enigmatic nonanswer at least suggests possibilities.
As with MGM, Grahame’s best opportunities during her RKO contract were away from home base—not that she always got to seize them. Howard Hughes refused to loan her to Columbia for George Cukor’s Born Yesterday (July Holliday’s 1950 Oscar role) and to Paramount for George Stevens’ A Place in the Sun (51; Shelley Winters’ part). Winning her release from RKO after Macao, Grahame did Cecil B. DeMille’s The Greatest Show on Earth (52) as her first freelance picture.
The circus epic gave her a much larger portion of both wisegal quips and spangles than Macao (there’s a peerless hair-trigger rejoinder to Betty Hutton while they’re both bidenzed as ladies of Marie Antoinette’s court). Not to mention a breath-catching moment with an elephant—that’s really Grahame lying in the sawdust with the pachyderm’s foot poised above her face. Not to mention three men to inflame: roue aerialist Camel Wilde; elephant trainer Lyle Bettger, who turns vicious when refused her “little cat’s lips”; and stolid, on-hiatus-from-Hutton circus boss Charlton Heston.
Despite the hokey overbusyness of her character, Grahame is unique among the cast of DeMille’s idiotic Best Picture (!) Oscar-winner in suggesting an inner life (“thinking,” again). She suggests further that her good nature—as eroded and sparingly displayed as Hutton’s is bottomless and indiscriminate—is worth something. Projected through a tender stillness, it’s worth everything to the scene in which Grahame makes coffee for Heston and fills his pipe, unfreezing him as both character and actor for the only time in the movie.
In Sudden Fear (52), David Miller’s San Francisco-set, sub-Hitchcock, but somehow irresistible thriller, Grahame is the lover and partner-in-cons Jack Palance shunts aside after he marries older heiress-playwright Joan Crawford. Soon enough, Grahame, who’s most convincing as one of those low-born, cheap-souled noir pieces of work whose mastery of dress, speech, and manner allows access to polite circles, shows up at a party at Crawford’s Nob Hill mansion. Soon after that, Grahame and Palance are plotting Crawford’s death and a life of ease for themselves—that is, when Grahame isn’t goading Palance into rough sex and trying to hide her supremely satisfied, sly-puss smile at reconquering him by this pleasurable means.
In one of the few recorded instances of Grahame’s collaboration with a director, Miller told Curcio that she embraced his notion that her character was “earthy, not evil” and “the victim of scary sex with a scary man.” Interesting—if somewhat contradicted by the result. Best to let that result—the fullest exploitation of Grahame’s potential for perversity until that time—speak for its fascinating self.
Grahame’s fourth 1952 performance contrasts sharply with its antecedents of that year—or any year. In The Bad and the Beautiful, Vincente Minnelli’s silken, hotted-up Hollywood-on-Hollywood melodrama centering on an opportunistic producer (Kirk Douglas) and an alcoholic actress (Lana Turner), Grahame has a contrapuntal comic role. But the comedy doesn’t come from knowing wisecracks, as so often before; instead, it comes from the way she, as Rosemary Bartlow, carries herself in the world. She carries herself not just as a “lady,” but as a Modem Southern Belle, with all the conflicts between artifice and nature, genteel charm and shrewd calculation, self-delusion and self-awareness that type implies. Especially strong—and hugely funny—in her is the conflict between propriety and lubricity, as typified by her twice-repeated line to her hi story prof-turned-screenwriter husband (Dick Powell): “James Lee, you have a very naughty mind—I’m happy to say.” Yet much as Oscar voters love 180s, Grahame’s Best Supporting Actress win for The Bad and the Beautiful shouldn’t be taken only as a nod to her break with good-bad-girl roles. Her performance is a souffle—a teasingly sweet-tart raspberry souffle—that’s all the more delicious for seeming absolutely effortless. And Grahame has never been more endearingly, accessibly pretty onscreen. Thanks to inveterate prettifier Minnelli?
Grahame aroused high expectations in 1953 by teaming with performance-oriented Elia Kazan on Man on a Tightrope. Indeed, New York Times critic A.H. Weiler was not alone in finding her “excellent” as the disheveled, trollopy young wife of Communist-fleeing Czech circus owner Fredric March. But her Kazanian-naturalistic soiled-wrapper mussiness aside, I find nothing particularly riveting and something surprisingly generic in her performance. Part of the problem may rest in the generic quality of the writing by Robert E. Sherwood; Grahame gets very good value out of the script’s attempt to round and soften her character with a sympathetic, eleventh-hour response to her husband’s defiance of the Commies, but this development still seems like so much Dramaturgy 101.
Later in ’53, Grahame played Debbie Marsh in Fritz Lang’s The Big Heat, the performance most cinephiles would choose for the time capsule. Debbie’s the dipsomaniacal, loose-cannon mistress of Vince Stone (Lee Marvin), chief henchman of the syndicate kingpin who controls a large Midwestern city. She’s vain, tauntingly flip with both Stone and his boss, jack-in-the-box kinetic—the last being Grahame’s own astute visual metaphor for Debbie’s instability, which drove Lang wild by forcing him to rethink staging and composition. When Debbie nies to pique Stone by flirting with the cop (Glenn Ford) bent on avenging the syndicate-engineered death of his wife, Stone scars one side of her face with a pot of scalding coffee.
After the scalding, Grahame takes Debbie through hysterical desperation, then bitter resignation (“I can always go through life sideways”), then poignant attempts at introspection (“Thinking’s pretty rough when you’ve spent most of your life not thinking”) and at establishing a human connection with the cop. Finally, Grahame makes Debbie terrifying as she exacts her revenge by killing evidence—withholding corrupt cop’s widow Jeanette Nolan (“We’re sisters under the mink”) and then scalding Stone, only to be shot by him. Her steely fervor gives a redemptive-cathartic moral grandeur to Debbie’s score-settling and takes the movie, until then an exemplary crime thriller, transcendently beyond genre. And she achieves real pathos in her death scene as, cradled by Ford in her prized mink, she gets a satisfactory answer to the question she asked earlier about his wife.
Reunited with Ford and Lang the next year, Grahame was “born to be BAD, to be KISSED, to make TROUBLE!”—or so said the ads for Human Desire. Lang’s version of Emile Zola’s novel La Bête humaine has a dank, prosy integrity, a relentless and, let’s say, beastly tawdriness and pessimism that’s very self-consistent. Yet I prefer the incongruously lyric and, let’s say, humanist 1938 Jean Renoir version of the book, which first shows the heroine (Simone Simon) at an open window stroking a kitten, to Lang’s, which first shows Grahame with her legs in the air—well, one of them, anyway. With this shot, Lang locks Grahame into a dreadfully misogynistic conception, and though she fits well into it and may even be central to it, there’s not much she can do to liberate herself from it. Not even when, early on, the script has her character trying to do right by her depressed, violent husband (Broderick Crawford); nor later when it tells us, plausibly enough, her only hope for freedom depends on getting her lover (Ford) to kill her husband.
Is Grahame nonetheless memorable in the role? Yes. There’s a wonderful ambiguity in her reading of “Most women are unhappy, they just pretend they aren’t,” which is either an attempt to manipulate Ford or a home truth or both. And she inspires real admiration for her fearless unconcern with losing audience sympathy as, step by step, she slips her character to its basest essence; the final step is a slut-special-nightmare from the universal male unconscious. Her look, on the other hand, is from a drag queen’s conscious deliberations about next Halloween: berets and hoop earrings and chevron brows and livid, pouty lips. This has to be one of those pictures on which Grahame tried to make her mouth more sensual by putting rolled Kleenex under her upper lip—only to have her male costar emerge from a kissing scene with a wet wad in his mouth.
All-star casts in adaptations of best-sellers or hit plays were one mid-Fifties antidote to TV’s bleeding of the movie audience, and in 1955 Grahame was part of three such enterprises. The first two to come out, both novel-derived, were Not as a Stranger, a raging box-office success, and The Cobweb, a flop.
The Cobweb, a nutty patients/nuttier staff mental-hospital drama, is ostensibly the more interesting because it reunited Grahame with Vincente Minnelli. But her performance—as Dr. Richard Widmark’s wife, who res pond s to hi s affair with Lauren Bacall by giving Charles Boyer the eye—has no particular impact because of the sheer number of nuts on board (including Lillian Gish and super-nut Oscar Levant). Unbelievably, Grahame fares better in Not as a Stranger, Stanley Kramer’s truly tedious making-of-a-doctor soap. Fast-forward 75 minutes-past 39-year-old Frank Sinatra as a med student—to see her as “the widow Lang,” a hard-drinking rich equestrienne who’s hot to trot with Olivia de Havilland’s country-doc husband Robert Mitchum. True, their seduction dance culminates in one of film history’s most famously bad scenes: As a stallion rears in his paddock and a mare whinnies interestedly in her barn, Mitchum’s heavy-lidded eyes take in Grahame’s kiss-me-or-kill-me mouth and then he crushes her to him very, you know, animalistically. Yet in their subsequent breakup scene, Grahame is miraculously small, true and somehow European—Signoret—or Moreau-like—in her ad but equable acceptance of what-must-be.
In her third all-star-project-with-a-pedigree for ’55, Grahame played Ado Annie in Fred Zinnemann’s film of Rodgers & Hammerstein’s megasmash Broadway musical Oklahoma! Though Zinnemann never arrived at a unifying vision of the material, he was certainly wise to go along with R&H’s odd, astute first choice of Grahame for Annje. The choice was odd because Grahame was no singer—she’d been dubbed in A Woman’s Secret et al.—and here she would have to warble (piecemeal, in the event) two numbers, “I’m Just a Girl Who Cain’t Say No” and “All or Nothing.” And it was astute because Grahame delivers all the required comic broad strokes, plus a bonus crop of even more comic subtleties.
She plays the hoyden Annie’s brand-new attractiveness to men (especially cowpoke Gene Nelson and Persian peddler Eddie Albert) as a sometimes pleasurable, sometimes painful, always stupefying affliction. Grahame was always a witty physical actress—voluptuously scattered in The Big Heat, sveltely purposeful in Sudden Fear, skittishly graceful in The Bad and the Beautiful—and here she has Annie jouncing plumply in place. As much, it seems, in expectation (she resembles Mae West when another actor was talking and she was revving up to hit him with a zinger) a. to reassure herself the earth is still beneath her feel. And the childishly illustrative gestures Grahame uses to accompany her songs seem to express fickle Annie’s need to define and anchor a feeling before it gives way to another, contradictory one. Finally, let’s not overlook Grahame’s G-rated but unmistakable afterglow when she and Nelson ankle Shirley Jones’s wedding to Gordon MacRae—it’s a study in dippy delight.
Though Oklahoma! should have boosted Grahame considerably, her star began to dim shortly after the film’s release. She’d behaved badly on the set; her relationship with the press was in one of its contentious phases; and even critics were distracted by her greasy brown hair, greasy-suntan flesh tones and (of course) greasy crimson lips in her next movie, Ronald Neame’s British-made WWII espionage procedural The Man Who Never Was (56). Still and all, Grahame, as a Yank librarian in love with an RAF flyer, is genuinely affecting, particularly in the monologue where she pours her feelings for the absent airman into a “fictional” love letter she dictates for use in Clifton Webb’s spy plot.
Grahame, who had married film and TV writer Cy Howard in ’54, had a daughter by him in late ’56; took additional time off to settle “personal problems,” including splitting with Howard in early ’57; and returned, thuddingly, to movies later that year with the “B” Western Ride Out for Revenge. Then, after almost two years of inactivity, she wound up the Fifties—her decade—with a fleeting return to the “A”’s: Odds Against Tomorrow would be her last studio picture for twenty years.
In Robert Wise’s determinedly arty bank-robbery thriller, Grahame is the loopy neighbor of ex-con Robert Ryan. When Ryan reneges on a promise to babysit her child, she runs a considerable gamut spanning annoyance at Ryan’s no-show, concern for her temporarily unattended infant, flirtatiousness, and finally a pervy-erotic fascination with murder (“How did it feel … when you killed that man?”). That’s altogether too much for a four-minute part, but Grahame’s a past master of the pervy-erotic stuff (so’s Ryan), which here is expressed with the eye giant close-up rather than the mouth.
Whatever salutary effects Odds might have had on Grahame’s career were nullified by her marriage, in May 1960, at age 36, to 23-year-old Tony Ray, Nicholas Ray’s son by a pre-Grahame union. The marriage was the Woody-Mia-Soon Yi story of its relatively prim time, and press accounts never failed to mention that Tony Ray was now stepfather to his 11-year-old half-brother, Nicholas’s and Gloria’s son. The union with Tony Ray would last 15 years and produce two sons, half-brothers to their father’s half-brother-become-stepson. Amazingly, in all this there is no incest in the sense of consanguine sexuality. But it was way too weird to fly with the public and the studios, and so, for the rest of her life, Grahame was forced to do what she could to nourish her body and soul.
The body part was taken care of by TV series guest shots, MOWs, the miniseries Rich Man, Poor Man; low-budget features with titles like Mama’s Dirty Girls and Mansion of the Doomed; and stock productions of farces like The Little Hut and The Marriage-Go-Round. As for the soul part, she studied with both Lee Strasberg and Stella Adler and realized a long-held ambition to be a serious, even classical stage actress. Over the years, in the U.S. and England, she appeared in The Time of Your Life with Henry Fonda, The Glass Menagerie (as Amanda), Who’s Afraid of Virginia Woolf? (Martha), The Merry Wives of Windsor (Mistress Page), and Macbeth. She usually won admiring notices for aspects—rarely the entirety—of her performances, possibly because she remained difficult to direct in the new medium, and certainly difficult to commit to fixed blocking. She even, finally, made a couple of classy studio movies.
As John Heard’s burdensomely dotty mother in Joan Micklin Silver’s Chilly Scenes of Winter (79, aka Head Over Heels), Grahame does what she must—like take huge doses of laxatives and repair to her bathtub, invite guests to dinner and fail to provide food—but like the film itself, she’s never as piquant as she’s supposed to be. She’s best in her one lucid scene, in which, her voice cracking, she recalls Heard’s father’s heart attack death at age 39, on a bus.
Grahame’s final movie fittingly returned her to the auteur league of her heyday. In Jonathan Demme’s Melvin and Howard (80, and getting better with each passing year), she’s Mary Steenburgen’s mother, and because her role was reduced in the final cut, she’s less a character than a thread in the film’s densely woven tapestry of lower-middle-class life. But even with next to no dialogue, she puts across the point—with a stiff carriage and skeptical glances—that she doesn’t think much of her daughter’s spouse (Paul LeMat, as the would-be heir of one-time Grahame nemesis Howard Hughes).
In September 1981, while in England to rehearse her second go at The Glass Menagerie, Grahame was felled by a flare-up of the cancer she’d held at bay for several years. After a slapstick-tragic stay at the Liverpool family home of actor/ex-lover Peter Turner (the events of which comprise his memoir Film Stars Don’t Die in Liverpool), her family brought her to New York, where she died in October.
It’s interesting, if ultimately depressing, to speculate on what Grahame might have done in films had the collision of her private life and the zeitgeist not wrecked her career in 1960. She could have had a triumph as Charlotte Haze in Lolita (not that I have any complaints about Shelley Winters’s Charlotte), she could have done well as Tuesday Weld’s mother in Pretty Poison (again, no complaints about Beverly Garland), she could have played Tuesday Weld’s mother in anything. And if she’d lived a little longer, surely David Lynch would have found—or created—something for her to do. But failing all that, what she did was plenty. And whether she was self-directed, mother-directed, auteur-directed, or all three, the uses of her perversity were many and most often sweet.
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https://www.npr.org/2009/08/20/112068891/aldo-ray-tarantinos-anti-basterd
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Aldo Ray: Tarantino's Anti-'Basterd'
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2009-08-20T00:00:00
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Brad Pitt's character in the Quentin Tarantino film Inglorious Basterds is "Lt. Aldo Raine." It's a homage to Aldo Ray, the star of the same '50s-era World War II films that were nothing like Tarantino's work. And Ray deserves to be remembered.
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en
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NPR
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https://www.npr.org/2009/08/20/112068891/aldo-ray-tarantinos-anti-basterd
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At the beginning of Quentin Tarantino's new World War II movie, Inglourious Basterds, Brad Pitt introduces himself to the troops under his command with the words, "My name is Lt. Aldo Raine." For most moviegoers, that name isn't going to mean anything. But for those with longer memories and an obsession with 1950s films, the name of the old movie star Tarantino is slyly winking toward, Aldo Ray, is going to hold a charge.
Even for us, though, it seems odd hearing the name in a Quentin Tarantino war movie, so different in its language and its use of violence from the old-fashioned war movies in which Ray starred. It helps to remember that Tarantino is one of the world's great fans of older, neglected movie actors. He resuscitated John Travolta's career in Pulp Fiction, and Robert Forster's in Jackie Brown.
In summoning up Aldo Ray, the star of '50s epics like Battle Cry and The Naked and the Dead, he is just reaching further back. Ray was a natural warrior; a big, blond man's man with a wonderful foghorn of a voice. But for little boys growing up in the 1950s, he was also something considerably more than that.
Of all the movie stars we grew up watching in that decade, Ray was the one who was most like our fathers. In his domestic roles, in movies like The Marrying Kind and God's Little Acre, he brought to the movies a startling whiff of our own suburban neighborhoods, the ones where our working-lug fathers would come home after a long day still with enough energy to light the barbecue and throw a ball around.
Such men were the anti-Mad Men, guys fully committed to the home-based lives they were living. Ray was their patron saint at the movies, representing those guys whose pure ethnic postwar simplicity seemed to have created the 1950s.
As we were growing up, a lot of us preferred to remember the decade through actors like Marlon Brando, Montgomery Clift and James Dean, actors who, through their neuroses and rebellion, showed us an alternative, a way out of the neighborhood, as well as a way out of a decade we grew to see as confining and hopelessly limited.
Aldo Ray, with his big, hungry body, his nakedly expressed desires for the simplest of things — home, and wife, and children — could never do that for us. He was so much of his time that the memory of him seems buried somewhere in a torn-down 1950s movie palace. But now that we're fathers ourselves, guys of our own neighborhoods, with desires simpler than we'd ever once have anticipated, it's possible to appreciate him anew.
Unlike Clift, and Dean, and Brando, Ray knew how to do things: how to hold a baby, how to cement a marriage, how to fix a broken pipe. It's that forgotten '50s presence that Tarantino is sending a shout-out to. And hearing it is a little like hearing my father's name called out in the dark, in thousands of multiplexes — the old man with his solid, un-neurotic '50s persona — not forgotten after all.
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https://www.datalounge.com/thread/27390119-let-us-sing-praises-to-aldo-ray.-did-any-of-you-eldergays-know-know-him-
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Let us sing praises to Aldo Ray. Did any of you eldergays know know him?
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He made some porn iirc.
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en
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the DataLounge
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https://www.datalounge.com/thread/27390119-let-us-sing-praises-to-aldo-ray.-did-any-of-you-eldergays-know-know-him-
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He was in a porn movie in the 1970s when he was a raging alcoholic and his career was in the shitter, but he didn't have any sex scenes in the movie.
He was hot as hell in his youth and rumored to be hung like a horse.
Was a member of the US Navy's UDT-17. Trained in Hawaii, the team cleared landing beaches of obstacles and coral heads in the Pacific during World War II, and participated in the largest UDT operation of the Pacific War--the invasion of Okinawa, in March 1945. In 1983 the UDTs (Underwater Demolition Teams ) were re-designated as SEAL Teams.
There's a scene in the Marrying Kind where he has a dream that he's going down a conveyor belt. He's only in his boxer shorts and a t-shirt, and as he goes down the belt, his t-shirt rides up, exposing his hairy torso.
That scene made me a fan.
What I loved about him was his unabashed manliness. Hairy chested in a world of shaven torsos. Raspy voiced in a world of mellifluous tones. Kind of clunky in a world of smooth operators.
Knew a guy years ago who said he grew up in a suburban L.A. neighborhood where Ray was his next door neighbor. Said he kept to himself, but was nice enough. Used to mow his lawn, then sit out with a couple of beers. Normal guy.
R15 It's talked about here. The actual quote from Aldo Ray:
"George Cukor gave me my big break in this business. He thought I could be a star, and I knew somebody important like him could easily help me, so I let him take his pleasure and it didn't compromise me in the least."
Love him but I'd like to say these photos don't really even do him justice. He had a particular manly charisma that really came through best in his early screen appearances. Check him out in Miss Sadie Thompson opposite Rita Hayworth. And God's Little Acre opposite Tina Louise.
Sex on a stick as they like to say around here.
Studio sent Aldo Ray to ballet lessons because he walked like a truck driver or something.
Judy Holliday and Aldo Ray were magic in "The Marrying Kind". Their respective accents alone conjured a NYC that is long gone now.
I'm a big fan of Nightfall which has Aldo in his medium buff period. There one scene where he stands with his back to the camera and we get a great look at his ass.
R6 I first saw this picture in a massive well-illustrated book called "A Pictorial History of the Talkies" published in 1958.
The author Daniel Blum had thousands of movie stills plus around 20 pictures of men in very skimpy costumes.
I couldn't figure out if this was a private picture where he'd roll the fabric up to expose as much flesh as decency permitted.
^ I was suspicious there were so many beefcake pictures in that book.
Another picture from the 1930s showed the buttock of young teen washing in a wooden tub. I'm guessing it was from 'Huckleberry Finn' or The Adventures of Tom Sawyer from 1938
He was a big lunk, wasn't he?
You didn't expect him to make any conversation except grunting.
I didn't like that Aldo Ray joke on The Golden Girls. He was so hot so I can't see why it would be embarrassing for Dorothy to be in his fan club.
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https://rogersmovienation.com/2024/07/27/classic-film-review-aldo-and-anne-bancroft-in-tourneurs-nightfall-1956/
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en
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Classic Film Review: Aldo and Anne Bancroft in Tourneur’s “Nightfall” (1956)
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[
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[
"Roger Moore →"
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2024-07-27T00:00:00
|
Crackling dialogue, bluff, brittle performances and a plot riddled with "coincidences" and saddled with clumsy, chatty villains characterize "Nightfall," a fin de noir thriller from Jacques Tourneur. It features linebacker-in-a-suit Aldo Ray as a commercial artist fleeing two murderous bank robbers, Brian Keith and Rudy Bond as the trigger-happy dopes who keep letting him get…
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en
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Movie Nation
|
https://rogersmovienation.com/2024/07/27/classic-film-review-aldo-and-anne-bancroft-in-tourneurs-nightfall-1956/
|
Crackling dialogue, bluff, brittle performances and a plot riddled with “coincidences” and saddled with clumsy, chatty villains characterize “Nightfall,” a fin de noir thriller from Jacques Tourneur.
It features linebacker-in-a-suit Aldo Ray as a commercial artist fleeing two murderous bank robbers, Brian Keith and Rudy Bond as the trigger-happy dopes who keep letting him get away and Anne Bancroft as a woman our hero figures is a femme fatale but who may have other reasons for cadging $5 from him at an LA bar.
Tourneur, whose best films were stamped with his painterly way with shadowy film noir monochrome (“Out of the Past,” “Cat People”) takes us into a bars and dimly-lit rooms, out to the LA oil patch and the Tetons of Wyoming in a thriller best remembered for having it’s snow-covered finale cribbed by “Fargo,” and for the script and dialogue by the prolific and piquant Stirling Silliphant (“In the Heat of the Night,” “Village of the Damned,” TV’s “Route 66”)
“Guys have probably been swarming around you since your second teeth came through.”
That’s how James Vanning (Ray) — Or his name Rayburn? Or something else? — talks no-nonsense to the beauty (Bancroft) who sits next to him at the bar, claiming she didn’t bring cash. She works in fashion.
“I should have figured your being a model. I mean, believe it or not, I’m an artist”
“Soup cans or sunsets?” she cracks.
As this was 1956, how’d she or the screenwriter know what Andy Warhol would become famous for painting…in 1962?
Vanning’s guarded with the model Marie, but sure to get her number so that she’ll “pose” for him. He’s not that forthcoming with the stranger James Gregory) who stops stalking him long enough to strike up a chat, where we learn “Vanning” is a vet who fought on Okinawa.
The stranger? He’s got a wife (Brando’s big sister, Jocelyn Brando) and a secret of his own. He’s an insurance investigator with an interest in Vanning.
Whatever the two mugs who seem to have bribed model Marie to distract Vanning are mixed-up in is sure to involve that insurance detective. The talker (Keith) has to go to some pains to rein in his Colt 45 packing mug of a partner, Red (Bond).
“Look, Red, tonight’s his night. Might be a short one. Might be a long one. But he’s gonna keep breathing until we get an answer out of him. You got that?”
They robbed a bank. Somehow, “Vanning” or Rayburn or whoever ended up with the cash. They want it back. Flashbacks tell us the story of how they crossed pathsjust before a blizzard rolled into the Wyoming Tetons.
The Burnett Guffrey cinematography is as crisp as the dialogue, and beautifully complements the flinty, unfussy performances. It’s a short, brisk thriller, which accounts for the lack of back-story most of the characters warrant, even at their chattiest.
Silliphant writes past a lot of lapses in logic. Not only do the bad guys think of every way under the sun or moon to let their quarry get away, but they talk a lot as they do.
“Well, maybe we can get this thing straightened out, and everything will be fine.”
“And “dandy.” Don’t forget the ‘dandy.'”
The dialogue is so sharp that you almost don’t notice how EVERYbody talks too much. Vanning and Marie get into a taxi where he unloads a lot of “wanted for murder” exposition on her. As if the cabbie couldn’t hear. As if the viewer isn’t wondering why the cabbie hasn’t heard.
That goes for the finale, too, which invents another colorful, verbose argument that defies logic and stands-out as the most contrived moment in a fairly contrived plot.
But that post-war “noir” era of cynical anti-heroes randomly targeted by evil was winding down. Why not unload every thing you ever wanted a tough guy — and Ray was one of the toughest — to say to another tough guy in your script?
“Nightfall” still makes a fine late-career showcase for Tourneur’s visuals, a showcase for Ray, Bancroft and Keith, an early example of Sillphant’s ear and a reminder of just what we’d miss when color totally supplanted the symbolic shades of darkness that monochromatic film stock provided.
Rating: “approved,” violence
Cast: Aldo Ray, Anne Bancroft, Brian Keith, Jocelyn Brand, Rudy Bond and James Gregory.
Credits: Directed by Jacques Tourneur, scripted by Stirling Silliphant, based on a novel by David Goodis. A Columbia Pictures release on Tubi, Amazon, et al
Running time: 1:22
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https://time.com/archive/6801303/milestones-sep-15-1958/
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en
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Milestones, Sep. 15, 1958
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https://time.com/favicon.ico
|
https://time.com/favicon.ico
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[] |
[] |
[
""
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[
"TIME"
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1958-09-15T04:00:00+00:00
|
Born. To Singing Actress Anne Jeffreys, 35, and Actor Robert Sterling, 41, the ghost husband and wife in TV's Topper series: their second child, second son (he has a daughter by a previous...
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en
|
/favicon.ico
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TIME
|
https://time.com/archive/6801303/milestones-sep-15-1958/
|
Born. To Singing Actress Anne Jeffreys, 35, and Actor Robert Sterling, 41, the ghost husband and wife in TV’s Topper series: their second child, second son (he has a daughter by a previous marriage to Actress Ann Sothern); in Burbank, Calif. Name: Robert Dana. Weight: 7 Ibs. 12 oz.
Born. To George M. Leader, 40, Democratic Governor of Pennsylvania, and Mary Leader, 39: their third son, fourth child; in Harrisburg, Pa. Name: David Charles. Weight: 9 Ibs.
Married. Jean Seberg, 19, cornfed cinemactress who at 17 was chosen for movie stardom as Joan of Arc in Bernard Shaw’s Saint Joan; and Francois Moreuil, 24, Harvard-trained French lawyer; in Marshalltown, Iowa.
Married. Amelia Eden, 25, niece of former British Prime Minister Anthony Eden; and Giovanni Borrelli, 30, $35-a-week engine-room mate on a ferryboat that runs between Naples and Ischia; in Ischia, Italy. Said the bride’s mother: “I’m not worried about Amelia’s happiness. I know she will be happy. What worries me is the plumbing.”
Married. Sarah Vaughan, 34, supple-voiced Negro jazz singer; and Clyde Brooks Atkins, 30, owner of a fleet of taxicabs on Chicago’s South Side, onetime football fullback; she for the second time, he for the first; in a City Hall ceremony, in Chicago. Witness: Trumpeter John Birks (“Dizzy”) Gillespie. The bride wore a white trapeze dress and green shoes. The witness wore a brown-and-white cord suit, pink shirt, red-and-black tie, and, on his head, a diamond-patterned, black-and-white tarboosh.*
Married. Jeff Donnell, 37, actress who is giving up her job as Comedian George Gobel’s TV wife; and Manhattan adman John Bricker II, 39; he for the second time, she for the third (her second: Actor Aldo Ray); in Van Nuys, Calif.
Died. George Fingold, 49, attorney general of Massachusetts, Republican nominee for governor in the coming November elections; of a heart attack; in Concord, Mass. The new nominee is onetime Massachusetts house of representatives Speaker Charles Gibbons, 57, who irritated his colleagues last spring when he refused to become “a sacrificial lamb” by running for U.S. Senator against John Kennedy.
Died. Lady Beecham, 50, British concert pianist (Betty Humby), wife of Conductor Sir Thomas Beecham, 79; of a heart attack; in Buenos Aires, where Sir Thomas was completing a concert series.
* A red cap worn by Moslem men. Dizzy’s version was given to him by Omar Mohallim Mohamed, recent special representative at the U.N. from Italian Somaliland.
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https://networthcolumn.com/aldo-ray-net-worth/
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Aldo Ray Net Worth 2024 – Wife, Age, Height, Professional Life and more
|
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"Alex Henry"
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2024-07-10T16:40:04+00:00
|
Aldo Ray Net Worth:
|
en
|
Net Worth Column
|
https://networthcolumn.com/aldo-ray-net-worth/
|
Aldo Ray, renowned for his roles in both film and television, stands as a prominent figure in the realm of American acting. With a stellar career spanning across various mediums, Ray has garnered significant acclaim and a substantial net worth from his artistic endeavors.
His exceptional talent and dedication to his craft have propelled him to earn a substantial fortune through his profession. In this article, we are going to cover Aldo Ray Net Worth, Wife, Age, Height, Professional Life and other untold facts.
What is Aldo Ray Net Worth?
Aldo Ray, renowned for his captivating performances in both film and television, epitomizes dedication and sincerity in his craft. As an actor, his commitment to his roles is palpable, earning him widespread acclaim and admiration from audiences and peers alike. With a career spanning numerous memorable performances, Ray has solidified his place in the annals of entertainment history.
It comes as no surprise that his dedication has translated into significant financial success, with an impressive net worth of 5 million dollars. This substantial wealth not only speaks to his talent and hard work but also reflects the enduring legacy he has carved in the entertainment industry. Aldo Ray’s journey is not just a testament to his acting prowess but also a testament to the rewards that come with unwavering dedication to one’s craft.
Aldo Ray Yearly Income, Monthly Income and Daily Income
Aldo Ray, renowned for his captivating performances on both the big and small screens, commands a substantial income befitting his stature in the entertainment industry. With a yearly income of $250,000, he stands as a testament to his enduring talent and popularity among audiences worldwide.
Breaking down his earnings further reveals an impressive monthly income of $21,000, demonstrating not only his consistent work ethic but also his ability to secure lucrative roles in both film and television.
On a daily basis, Aldo Ray commands a salary of $700, a testament to the value placed on his contributions to the entertainment world. With such substantial earnings, Aldo Ray not only secures his financial stability but also underscores his position as a respected and sought-after actor in the ever-evolving landscape of Hollywood.
Net Worth – $5 Million
Yearly income – $250k
Monthly income – $21k
Daily income – $700
At a Glance about Aldo Ray
Real NameAldo RayNick NameAldo RayProfessionAmerican actor, film and television actorAgeDied at the age of 64 yearsHight1.84 mWeight77 KGHusband/WifeJohanna RayChildrenEric DaRe, Claire DaRe, Paul DaReSiblingsNot FoundParentsSilvio Da Re, Maria Da Re
Early Years and Family
Aldo Ray’s early years were imbued with the enchantment of cinema, fostering a deep-seated love for movies that would shape his future endeavors. Even in his formative years, Ray exhibited a fervent passion for the world of acting, drawn to the captivating allure of film and television. Known for his sincerity and dedication, these traits were evident from the outset, reflecting his innate commitment to his craft.
Beyond his individual aspirations, Ray was blessed with a loving and supportive family, whose presence enriched his life immeasurably. Together, they cherished moments of leisure, often embarking on trips that allowed them to bond and create cherished memories.
Such experiences not only provided respite from the rigors of daily life but also served as invaluable opportunities for familial closeness and shared joy. Throughout his early years, Aldo Ray was not only cultivating his passion for acting but also nurturing the profound connections that would sustain him through his journey in the entertainment industry.
Aldo Ray Wife
Aldo Ray was fortunate to have found his steadfast companion in Johanna Ray. Their bond was more than just a marital commitment; it was a testament to unwavering support and mutual respect. Through the highs and lows of life, they stood by each other’s side, serving as pillars of strength. Aldo’s professional journey saw its share of challenges, but it was Johanna’s unwavering support that provided him with the resilience to persevere.
Her encouragement and belief in his abilities were the driving forces behind his successes, serving as a constant reminder of the power of a loving partnership. Together, they navigated the complexities of life, their unity a beacon of hope amidst adversity. In the narrative of Aldo Ray’s life, Johanna was not just a wife; she was his confidante, his advisor, and his greatest ally. Theirs was a love story intertwined with resilience, fortitude, and unwavering devotion.
Educational Qualifications
Aldo Ray’s educational journey began with his graduation from a renowned university, where he distinguished himself with brilliant academic results. Beyond his studies, he eagerly immersed himself in co-curricular activities during his free time, showcasing a multifaceted talent and a hunger for diverse experiences.
His teachers recognized his exceptional dedication and sought him out for his outstanding work ethic and contributions to various projects. Yet, amidst his academic pursuits, Ray harbored a deep passion for the arts, a calling that beckoned him beyond the confines of the classroom.
Following his instincts, he embarked on a new path as a film and television actor, leveraging his academic foundation and channeling his creativity into a vibrant career in the entertainment industry. Through this transition, Ray not only embraced his passion but also demonstrated the power of combining academic excellence with pursuing one’s dreams, a testament to his unwavering determination and drive for success.
Professional Life
Aldo Ray stands as a luminary figure in the realm of acting, a testament to perseverance, dedication, and raw talent. Renowned across the cinematic landscape, he has carved a niche for himself as one of the most successful personalities in both film and television. His journey to the upper echelons of the entertainment industry is a testament to his unwavering commitment and relentless work ethic.
Ray’s illustrious career is marked by a multitude of roles across various genres, each one a testament to his versatility and innate ability to bring characters to life on screen. From gripping dramas to lighthearted comedies, he has left an indelible mark on audiences worldwide with his captivating performances.
Behind the scenes, Ray is a paragon of dedication, immersing himself in every role with a fervor born of genuine passion for his craft. His ascent to prominence serves as an inspiration to aspiring actors everywhere, a reminder that success is attainable through hard work, perseverance, and an unwavering commitment to one’s dreams. Aldo Ray’s professional journey is not merely a tale of triumph, but a testament to the transformative power of following one’s passion with unyielding determination.
Age, Height, Weight
Aldo Ray, at 64 years old, epitomizes the essence of timeless charm and enduring vitality. With a towering height of 1.84 meters, he possesses a commanding presence that effortlessly captivates those around him. Maintaining a healthy physique, Aldo carries himself with a grace that belies his 77-kilogram weight.
His demeanor exudes confidence, reflecting a life lived with purpose and vigor. Renowned for his rugged good looks and undeniable charisma, Aldo Ray stands as a testament to the adage that age is but a number, as he continues to inspire and enchant all who have the privilege of crossing his path.
Aldo Ray Social profiles
FacebookNot FoundInstagramNot FoundTwitterNot FoundWhatsappNot FoundTikTokNot FoundPersonal websiteNot FoundEmailNot FoundLinkedinNot Found
related article
Final Words
In remembrance of Aldo Ray, a cherished actor of both film and television, whose talents graced screens and hearts alike. With a net worth estimated at approximately $5 million, his legacy extends far beyond mere monetary value, resonating through the characters he brought to life and the memories he etched into the annals of cinematic history.
Aldo Ray’s contributions to the world of entertainment, his dedication to his craft, and the indelible mark he left on audiences worldwide are testaments to a career filled with passion and purpose.
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https://www.critifan.com/people/45232
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Aldo Ray
Aldo Ray was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima. While constable of Crockett, California, he drove his brother Guido to an audition for the film Idols in the Dust (1951). Director David Miller hired him for a small role as a cynical football player. Ray's husky frame, thick neck and raspy voice made him perfect for playing tough sexy roles. He was the star of George Cukor's The Marrying Kind (1952) and starred opposite Rita Hayworth in Miss Sadie Thompson (1953). Ray was the none-too-bright boxer in Cukor's Pat and Mike (1952) and an escaped convict in 'Michael Curtiz"s We're No Angels (1955). His career started downhill in the 1970s, with him appearing in a string of low-budget films as a character actor. His last film was Shock 'Em Dead (1991). Ray was married three times, with one daughter Claire born in 1951 to his first wife Shirley Green whom he married on on 20 June 1947. Ray was then briefly married to actress Jeff Donnell and then had two sons and a daughter with his third wife, Johanna Ray, one of whom is the actor Eric DaRe. Aldo Ray died of throat cancer on 27 March 1991.
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American actor (1926–1991)
Aldo Ray (born Aldo Da Re; September 25, 1926 – March 27, 1991) was an American actor of film and television. He began his career as a contract player for Columbia Studios before achieving stardom through his roles in The Marrying Kind, Pat and Mike (which earned him a Golden Globe nomination), Let's Do It Again, and Battle Cry. His athletic build and gruff, raspy voice saw him frequently typecast in "tough guy" roles throughout his career, which lasted well into the late 1980s. Though the latter part of his career was marked by appearances in low-budget B-movies and exploitation films, he still appeared occasionally in higher-profile features, including The Secret of NIMH (1982) and The Sicilian (1987).
Early life and education
[edit]
Ray was born Aldo Da Re in Pen Argyl, Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino, and Louis) and one sister (Regina). His brother Mario Da Re (1933-2010) lettered in football at USC from 1952 to 1954 and appeared as a contestant on the May 12, 1955, edition of Groucho Marx's NBC-TV quiz show You Bet Your Life.[1] His family moved to the small town of Crockett, California, when Aldo was four years old. His father worked as a laborer at the C&H Sugar Refinery, the largest employer in the town. He attended John Swett High School, where he made the football team; he also coached swimming.[2]
At age 18, during World War II in 1944, Ray entered the United States Navy, serving as a frogman until 1946; he saw action at Okinawa with UDT-17. Upon leaving the Navy in May 1946, he returned to Crockett. He studied and played football at Vallejo Junior College and then entered the University of California at Berkeley to study political science. (Ray later described himself as an "arch conservative" and a "right-winger".[3]) He left college in order to run for the office of constable of the Crockett Judicial District in Contra Costa County, California. "I always knew I was going to be a big man, but I thought it would be in politics," he said.[4]
Career
[edit]
Saturday's Hero
[edit]
In April 1950 Columbia Studios sent a unit to San Francisco to look for some athletes to appear in a film they were making called Saturday's Hero (1951). Aldo's brother Guido saw an item in the San Francisco Chronicle about the auditions and asked his brother to drive him there. Director David Miller was more interested in Ray than in his brother because of his voice; also, Ray was comfortable talking to the camera owing to his political experience. He later recalled, "They... said, 'What's wrong with your voice kid? Are you sick? If you're sick you don't belong here.' I said, 'No, no, no, this is the way I've always spoken.' And they loved it."[3] Ray would later retell this story in the trailer for Pat and Mike.
Ray signed a contract and was sent to Los Angeles for a screen test. He was cast in the small role of a cynical college football player opposite John Derek and Donna Reed.[5]
Ray worked on the film between the primary and general elections. He was elected constable on 6 June. "I was 23 and a sort of child bride to the voters," he later said.[5] "The guy I ran against was a 16-year incumbent, and I destroyed him with 80 percent of the vote! I was going to work my way up to the U.S. Senate, see, and I would've, too."[6]
Columbia picked up its option on Ray's services and signed him to a seven-year contract. "Of all the people in the picture they took up only one option—mine," he said. "And I said, 'Thank you, goodbye. I'm going home where I can be a big fish in my small pond. You can take this town (Hollywood) and shove it."[3]
Columbia refused to release him from his contract and put him under suspension, giving him a leave of absence to work as constable. "I told them I couldn't care less, they could give me whatever they wanted," he said.[3] Ray started his new job in November 1950.
Hollywood stardom: The Marrying Kind
[edit]
After several months, Ray found "the quiet life... monotonous",[5] so he contacted Max Arnow, talent director at Columbia, and expressed interest in appearing in more movies. Four weeks later, Arnow called back, saying Columbia wanted to audition Ray for a small part in Judy Holliday's new movie The Marrying Kind.
Ray went to Hollywood and did a screen test with the director, George Cukor. The first test went badly, but head of Columbia Harry Cohn liked Ray and asked for another test. The second one was done opposite (Miss) Jeff Donnell, whom Ray later married; it was more successful and Ray ended up being cast in the lead.[5]
Harry Cohn felt the name "Aldo Da Re" was too close to "Dare" and wanted to change it to "John Harrison"; the actor refused and "Aldo Ray" was the compromise.[7] He divorced his wife and resigned as constable in September 1951. His studio salary was $200 a week.[6]
Cukor famously suggested that Ray go to ballet school because he walked too much like a football player. The director later talked about the actor:
He has a great advantage: the way his eyes are made. The light comes into them. There are certain people who have opaque eyes which refuse to catch the light. But his eyes had a certain glow and gave quite well in the photographed result. He did this silent scene very well lying there on the bed in the same room with Judy (Holliday). Then later he did comedy scenes with her—very difficult ones—and there were also emotional sequences where he broke down and cried. They were brilliant.[8]
"Cukor is hypersensitive to reality", recalled Ray. "He told me exactly what to do and why. He explains everything and he knows exactly what he wants."[9]
Ray's performance was much praised. Sight & Sound later commented:
To give the performance he did in The Marrying Kind after so little previous experience was clear evidence that in Aldo Ray the screen had discovered one of its rare "naturals". This was no carefully edited, tricked out performance, but a strikingly sincere and imaginative interpretation: an exceptional talent responding to a finely intuitive director... There was about him none of the personality assurance that extracts a special consideration of the actor as distinct from his role.[10]
Cukor then cast Ray in a supporting role in Pat and Mike, starring Spencer Tracy and Katharine Hepburn. Ray's work in Pat and Mike led to his nomination, along with Richard Burton and Robert Wagner, for a Golden Globe as Best Newcomer. Burton won the award that year, but Ray's career was launched. He said after two films with Cukor: "I never needed direction again."[11]
Ray said Spencer Tracy told him: "Kid, I don't know what it is that you got, and I got, and some of us have, but you can work in this business forever." "That," said Ray, "made me feel good, you know, coming from a guy like him. I never bowed down to anybody at Columbia or anywhere else, but my overall idea was, I'll do whatever they tell me because it's their business, not mine, and I've got to learn it."[6]
Columbia leading man
[edit]
Columbia Pictures head Harry Cohn liked Ray and wanted him for the role of Private Robert Prewitt in From Here to Eternity (1953), but Fred Zinnemann insisted Montgomery Clift be cast.[12] However, other good roles followed instead. "Because of Harry, all my first pictures were big hits, tremendously popular", Ray recalled.[6]
Ray starred opposite Jane Wyman in Let's Do It Again (1953), then followed this acting opposite Rita Hayworth in Miss Sadie Thompson (also 1953), the third film version of the W. Somerset Maugham story "Rain". He also appeared in a production of Stalag 17 at La Jolla Playhouse.[13]
Ray was loaned to Warner Bros to appear in Battle Cry (1955), which was directed by Raoul Walsh, who would become one of Ray's favorite directors. The film was a box-office hit—probably the most popular movie Ray ever made—although it led to his being typecast.
"In some ways the tough soldier role locked me in", reflected Ray later. "There were no sophisticated roles for me. I never seemed to get past master sergeant, though I always thought of myself as upper echelon."[14]
Clash with Columbia
[edit]
Ray was meant to appear in My Sister Eileen (1955) as The Wreck, but he walked off the set, claiming his role was too small, and had to be replaced by Dick York.[15]
Battle Cry was a big hit at the box office, so Columbia gave Ray a lead role as a sergeant who marries a Japanese girl in Three Stripes in the Sun (originally The Gentle Wolfhound) (1955) and then loaned him to Paramount for We're No Angels (also 1955), in which he starred with Humphrey Bogart, Peter Ustinov, Basil Rathbone, Leo G. Carroll, and Joan Bennett.
Ray was profiled in Sight & Sound as follows:
Aldo Ray's technical advance in the four years since The Marrying Kind enables him now to work in subtler, more economical degree; there is an authoritative reserve and, still remarkably intact, the original rare lack of ostentation. All the same, his career seems to have become a nomadic drifting round the studios looking for the right kind of film. The good humour, the lenitive smile, the frog in the throat voice betray nothing of the disappointment the actor must feel after such exciting beginnings under Cukor's guidance.[10]
Ray was meant to appear in Jubal but refused because Columbia had made a profit on his loan-outs for Battle Cry and We're No Angels but not paid Ray a bonus; Rod Steiger took the role instead.[16] Ray was put on suspension.[17]
Ray then refused to appear in Beyond Mombasa (1956) because he did not want to go on location. This led to his being replaced by Cornel Wilde and put under suspension again. However, the situation was resolved when he agreed to make Nightfall (1957), playing an artist who encounters a pair of ruthless bank robbers.[18]
In 1956, in between appearances in Three Stripes In The Sun and Men in War, Ray worked in radio as a personality and announcer at hit music station WNDR in Syracuse, New York. A photo of Ray with a colleague in the WNDR studios, taken as part of a station promotional package, survives and can be found on a WNDR tribute website. By 1957, in any event, he had left WNDR and the radio business and returned to Hollywood.
On January 31, 1957, Ray appeared on NBC's The Ford Show Starring Tennessee Ernie Ford. He and Tennessee Ernie Ford did a comedy skit from a foxhole.[19]
Two with Anthony Mann
[edit]
Columbia loaned Ray out to Security Pictures (who released through United Artists) for him to appear in Men in War (1957) opposite Robert Ryan; it was directed by Anthony Mann, who became Ray's favorite director. Ray was given 5% of the profits, which he later estimated at $70,000.[6]
Ray was reunited with Security Pictures, Ryan, and Mann to star in God's Little Acre (1958), an adaptation of Erskine Caldwell's controversial novel directed by Mann starring Robert Ryan and Tina Louise.
By the seventh year of his contract with Columbia, Ray was earning $750 a week. He later said for the first ten years of his career he made less than $100,000.[3] He expressed interest in producing his own vehicle, The Magic Mesa, from a script by Burt Kennedy, but it was not made.[20]
Instead Ray appeared in an adaptation of David Goodis's novel Nightfall (1957) directed by Jacques Tourneur and The Naked and the Dead (1958), an adaptation of Norman Mailer's novel directed by Raoul Walsh. It was produced by Paul Gregory, who said:
Aldo Ray was drunk the entire time. He was a very sweet guy, but he was gone. He drank drank drank. Raoul Walsh would say, "Let's get him in the morning 'cause in the afternoon it's over."... I just could not get used to it, actors who got all this money and then didn't behave professionally. The English actors have classical training. They perform like professionals. You take someone like Aldo Ray who was just picked up and catapulted into stardom, and then he was just a sponge for booze. He killed himself drinking, not living up to his moral contract.[21]
Ray later admitted that producers were scared of casting him in projects because of his drinking.[3]
Leaving Columbia
[edit]
Ray had been popular with Harry Cohn because, in the actor's words, "[h]e took no shit from anybody and he saw that I was that kind of a guy, too."[2] But when Cohn died in 1958, Columbia elected not to renew Ray's contract and he decided to leave Hollywood. He later said, "I never was an expatriate. I spent some time in England and Spain and Italy but I was never out of this country [the US] longer than six months."[22]
He starred in 1959 in Four Desperate Men (The Siege of Pinchgut), filmed in Australia; it was the last movie produced by Ealing Studios (releasing through MGM) and a box office disappointment. He then appeared opposite Lucille Ball in an episode of Desilu Playhouse. He said he made more money from these two projects "than I'd made the whole eight years before."[6]
In 1959, Ray was cast as Hunk Farber in the episode "Payment in Full" of the NBC western series Riverboat. In the story line, Farber betrays his friend and employer to collect reward money that he uses to court his girlfriend, Missy.[23]
Ray made The Day They Robbed the Bank of England, directed by John Guillermin, in the UK and Johnny Nobody in Ireland.[24] He later described his British sojourn as a "big mistake" because none of his British films were widely seen in America.[3]
"Everything went well until the end of '62—then everything collapsed—including me", he later said. "I didn't take care of myself physically and mentally."[25]
He hired a press agent, started taking better care of himself physically, and changed agents.[25]
Return to Hollywood
[edit]
Ray returned to Hollywood in 1964. He had a small role in Sylvia (1965) and made a pilot for a TV series financed by producer Joseph E. Levine, Steptoe and Son (an unsuccessful adaptation of the British TV series). "I feel I shall have a complete regeneration of my career", he said in 1965.[25]
He later appeared in What Did You Do in the War, Daddy?, Dead Heat on a Merry-Go-Round, and Welcome to Hard Times. He also made several guest appearances on television.
In 1966 Ray claimed, "I've been turning down a lot of TV and B movies. I won't consider anything but important roles in important pictures."[9] He said he was "almost independently wealthy", having saved and invested wisely in real estate from the times when his fee was $100,000 a film. He was interested in returning to politics but not until he had made "at least" four more movies. "The ideal situation would be three films every two years."[9]
In 1966 Ray played "Jake", a deaf mute, in "The Virginian" entitled "Jacob was a plain man".
He formed his own company, Crockett Productions, and bought two original scripts for films that were not made: Soldares, by Edwin Gottlieb, about the search for Pancho Villa,[26] and Frogman, South Pacific, by William Zeck.[27]
His best-known work of the 1960s was his portrayal of Sergeant Muldoon, alongside John Wayne, in The Green Berets (1968).
Ray starred in Kill a Dragon, shot in Hong Kong in 1966, and Suicide Commando, shot in Rome and Spain in 1968. He also made two television pilots in the 1960s; neither was picked up. [citation needed]
Career decline
[edit]
As the 1960s ended, Hollywood's appetite for Ray's machismo started to wane. Though he worked steadily in the 1970s, the quality of his roles diminished, and he was typically cast as a gruff and gravelly redneck.
By 1976, Ray was broke. He blamed this on his ex-wives and red tape that meant he could not develop his real estate properties. "I lost it all", he said. "And I am very, very bitter about it... The biggest mistake I ever made was discovering women. I only wish society had been as free and easy when I was coming along as it is today because if that had been the case I wouldn't have been married. Three women in my life utterly destroyed me."[22]
In 1979, Ray appeared in a pornographic movie, Sweet Savage, in a nonsexual role. Ray said later:
I wanted, I guess, to see what it was all about—a kind of half-assed adventure, you know? It was also a kind of vacation for me in a bad time—a nice location in Arizona—and I picked up a few thousand bucks. After it came out, a few people wagged their fingers at me—'Oh-ho-ho, you dirty dog'—but I knew I hadn't done anything wrong. They shot all the sex stuff after I'd flown back to L.A. I won the adult film Oscar for that, by the way, but somebody copped it.[28]
In 1981, Ray told a newspaper that his drinking was "under control" and said, "I think things are going to shoot straight up. I'm working on a deal now and if the picture is made my worries... are over... If things go the way I anticipate and I stay healthy I think I've got better years ahead of me than behind me."[3] He said he was open to a return to politics "if my movie career doesn't take off like I think it will."[3] He admitted being unhappy with his career, saying: "I think I should have gotten more good stuff."[3]
His career decline accelerated in the 1980s, and after being diagnosed with throat cancer in 1989, he accepted virtually any role that came his way to maintain his costly health insurance. He returned to Crockett in 1983.
Though at this stage in his career Ray starred mostly in low-budget and exploitation films, he did appear in occasional higher-profile works. He provided voice-over work as Sullivan for the 1982 animated film The Secret of NIMH alongside fellow character actor John Carradine. Ray was originally cast in the role of Gurney Halleck in David Lynch's 1984 film Dune, as his ex-wife Johanna Ray was the casting director, but was replaced by Patrick Stewart owing to ongoing issues with alcoholism.[29]
During the last stages of his career, Ray made a number of films for Fred Olen Ray. "He'd give me $1,000 in cash, pay my expenses, and I'd do a day's work", said Ray. "Somebody showed me one of his cassettes—'starring Aldo Ray'—but it was just a one-day job... I needed money at the time, and Fred knew I needed a buck, so I did it. He exploited me, yeah... but I was ripe for it."[28] He also appeared in two films for Iranian-born filmmaker Amir Shervan, better known for his cult classic Samurai Cop.
Final years and death
[edit]
In 1986 Ray's SAG membership was revoked when it was discovered he was acting in a non-union production, Lethal Injection.[6] However, Ray still got his union pension and benefits. His fee at this stage was $5,000 a week.[28] He appeared in two more higher-profile films, Michael Cimino's The Sicilian (1987) and Blood Red (1989), both in supporting roles that emphasized his Italian heritage.
In 1989, he was diagnosed with a malignant tumor in his throat that Ray attributed to excessive smoking and drinking.
His last film, which was filmed in mid 1990, was Shock 'Em Dead, in which he appeared with Traci Lords and Troy Donahue. In an interview that same year, he said about his cancer:
I regret that I don't have more control of my tongue and thoughts—because I speak too frankly and too honestly, and this world is not meant for frank and honest people. They don't mix. Reality is pretty phony... I'm in great shape—got all my energy and strength back. I had surgery on my neck last March, and after one more session of the chemo—that's 50 more hours—the doctors say I'll have it all beat... I'm not scared of dying—it's how I die that matters. I'd rather live one good year than ten more crappy years. And I think I've got some good pictures ahead of me if I can find the right roles. There's plenty of good stuff left in me, you know?[28]
Ray remained in Crockett, with his mother and family and friends. On 19 February 1991, he was admitted to the Veterans Administration Hospital in Martinez, 40 miles east of San Francisco. He died there of complications from throat cancer and pneumonia on 27 March 1991 at age 64.[7][14] He was cremated and his ashes were put in an urn and buried in Crockett, with a majority of the residents coming out to pay their respects.
Personal life
[edit]
Ray was married three times:
Shirley Green on June 20, 1947. They had one child, a daughter named Claire.
Jeff Donnell (married 30 September 1954, divorced 1956)
British actress Johanna Bennet (married March 26, 1960, divorced 1967), who continues to work today under the name Johanna Ray as a respected casting director. They had two sons, Paul and Eric. Johanna Ray, a longtime collaborator with David Lynch, cast her son with Aldo, Eric Da Re, in Lynch's Twin Peaks series as well as in the movie Twin Peaks: Fire Walk with Me.
Legacy
[edit]
Author Richard Matheson said that his best-known work, The Incredible Shrinking Man, was inspired by a scene in Aldo Ray's Let's Do It Again in which a character puts on someone else's hat and it sinks down past his ears; "I thought, what if a man put on his own hat and that happened?" he recounted in an interview for Stephen King's nonfiction work Danse Macabre. [citation needed]
Quentin Tarantino says Aldo Ray would have been ideal casting for the character of Butch in Pulp Fiction (1994) and that the look of Butch in the film (as played by Bruce Willis) was inspired by Ray.[30]
Brad Pitt's character in Tarantino's 2009 war film Inglourious Basterds is a soldier named "Aldo Raine", in tribute to Ray.[citation needed]
Ray appears as a character in Tarantino's 2021 novel Once Upon a Time in Hollywood.
The Crockett Museum has a display depicting his life.
A profile in Movie Morlocks analysed Ray's appeal from the film Nightfall:
Nobody smokes a cigarette like Aldo Ray. There's no forethought involved. No effort to seduce or impress audiences with an exaggerated pose or gesture. Ray doesn't have to pretend to be cool, threatening, bruised, battered or tough. He just is. And I find every unassuming gesture he makes utterly captivating. Aldo Ray has never been considered a great Hollywood actor in the traditional sense but his natural, unaffected performances often seemed to emerge from some unsettled place. You could frequently hear a genuine urgency in the way he delivered his lines and his casual swagger told you he'd been around the block more than once. Whenever Ray erupted on screen it felt like you were watching a volcano explode and if you didn't get out of the way it could easily swallow you up in a heavy flow of golden molten lava. Film historians often like to talk about the sea change that occurred in the 1950s, when actor's [sic] like Montgomery Clift and Marlon Brando brought a new kind of sincerity to Hollywood. These highly trained method actors changed the way we appreciate and understand acting today and they've rightfully been recognized for their accomplishments. But there were other performers that unconsciously championed a new kind of natural approach to acting. And one of them was Aldo Ray.[8]
Filmography
[edit]
References
[edit]
Biography portal
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Donnell, Jeff (1921–1988)
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Donnell, Jeff (1921–1988)American actress. Born Jean Marie Donnell, July 10, 1921, South Windham, Maine; died April 11, 1988, in Hollywood, California; attended Yale Drama School; m. Aldo Ray (actor), 1954 (div. 1956); m. three more times. Source for information on Donnell, Jeff (1921–1988): Dictionary of Women Worldwide: 25,000 Women Through the Ages dictionary.
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https://en-academic.com/dic.nsf/enwiki/7432999
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[http://characteractors.tribe.net/thread/a6b71ac3-7708-4a3e-a81c-739319340119 Wade Ballard, "The Jeff Donnell Story"] ]
Donnell graduated from Towson High School, Towson, Maryland, in 1938 and attended the Leland Powers Drama School in Boston, Massachusetts. Later, she studied at the Yale School of Drama. She was signed to a contract by Columbia Pictures in 1942 and later had roles in some RKO films.
She was not a major star, but she did have a lengthy film and television career in various supporting roles, including the role of Gidget's mother, "Dorothy Lawrence", opposite Carl Reiner in the 1961 movie "Gidget Goes Hawaiian".
Her other notable appearances in movies and television include:
* "Winnie Slade" in "The Boogie Man Will Get You" (1942)
* "Doughboys in Ireland" (1943)
* "Butch" in "Nine Girls" (1944)
* "Sylvia Nicolai" in "In a Lonely Place" (1950)
* "Alice Gobel" in the George Gobel TV show (1954-1958)
* "Miriam Fisher" in "The Iron Maiden" (1962; released in the U.S. as "Swinging Maiden")
* "Cornelia", an instructor pilot in "Tora, Tora, Tora" (1970)
* "Stella Fields" in the TV soap opera "General Hospital" (1980-1988)
Jean "Jeff" Donnell died of a heart attack on April 11, 1988. Her sudden absence from "General Hospital", on which she had a recurring role as the Quartermaines' housekeeper at the time of her death, was explained by the writers as her having won the lottery and quit her job.
References
External links
*imdb name|0232655
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2017-06-15T12:03:57+00:00
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Discover (and save!) your own Pins on Pinterest.
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Pulp International
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PulpInternational.com - Displaying all entries for keyword ’Night+Editor’
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Vintage Pulp Nov 9 2020
When the sun's away the crooks will slay.
And speaking of the film noir starring Aldo Ray and Anne Bancroft, we watched it right after finishing the book, and though the novel was pretty dark, the filmmakers decided a little upbeat mood music was on order, so they got the immortal jazz crooner Al Hibbler to sing a theme song. Everybody knows this one. Join right in: Nightfaaaaaaall... and youuuuuuuuuuu... lovely you... underneath the wreath of heaven's pale blue... you are poetry (possibly haiku)... you are melody (maybe in d minor, the saddest of keys)... You get the idea. Don't let us turn you off this film. The theme song is nothing the mute button won't fix.
As we mentioned in our post on the source novel, Nightfall was directed by Jacques Tourneur, the heavyweight talent behind the film noir monument Out of the Past, and he has the kind of skills that make an early shot of co-star James Gregory getting on a bus an artistic achievement. Gregory plays an insurance investigator on the trail of $350,000 worth of missing heist loot, and, as in the novel, the innocent schmuck who accidentally got stuck with it lost it and doesn't remember how or where. That person is played by Ray, who's great in this, as he relates his dilemma in flashbacks and desperately tries to deal with the two murderous robbers who originally stole the cash.
Nightfall is no Out of the Past, but it's a solid film noir entry, well worth watching. Besides Ray and Gregory, the two robbers Brian Keith and Rudy Bond are good, and honey-voiced Bancroft as the femme fatale handles her pivotal role nicely. Credit here also goes to Burnett Guffey, who photographed the movie, and added to his long list of beautiful film noir achievements—Johnny O'Clock, Night Editor, In a Lonely Place, The Sniper, Private Hell 36, Screaming Mimi, and a portfolio of other films. Put Nightfall in your queue. It'll be worth it—once the theme song is over. It premiered in the U.S. today in 1956
Vintage Pulp Mar 29 2017
Nothing's harder to rewrite than a lie.
This simple but effective poster was made to promote the simple but effective film noir Night Editor, starring William Gargan, Janis Carter, and Jeff Donnell. A group of grizzled reporters arrayed around a poker game reminisce over past scoops, with one of the group eventually telling the story of Tony Cochrane, a cop who got himself in too deep with a dame. A dissolve to the past takes viewers to the cop's world, and the narrative is broken up by occasional returns to the smoky poker game, where the storyteller punctuates his tale with a bit of Monday morning quarterbacking.
The story is that Cochrane the cop, who was cheating on his wife with a beautiful society woman, was parked one night at a secluded beach when he and his lover witnessed a murder. But fearing exposure of their affair, he neither stops the killing, nor pursues the killer, and later actively tampers with evidence to hide his own presence at the murder scene. You know this is going nowhere good, but just how complicated the mess becomes is where the fun lies. Low budget, but reasonably entertaining, Night Editor premiered in the U.S. today in 1946.
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https://alchetron.com/Aldo-Ray
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Alchetron, The Free Social Encyclopedia
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2017-12-25T08:30:48+00:00
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Aldo Ray (born Aldo Da Re September 25, 1926 March 27, 1991) was an American actor. Ray was born Aldo Da Re in Pen Argyl in Northampton County in eastern Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino and Louis) and one sister (Regina). (His brother, Mario Da Re
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Alchetron.com
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https://alchetron.com/Aldo-Ray
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Early life
Ray was born Aldo Da Re in Pen Argyl in Northampton County in eastern Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino and Louis) and one sister (Regina). (His brother, Mario Da Re (1933–2010), lettered in football at USC in the years 1952 to 1954, and on May 12, 1955 appeared as a contestant on the NBC quiz show You Bet Your Life hosted by Groucho Marx.) His family moved to the small town of Crockett in northern California when Aldo was four years old; his father worked as a laborer at the C & H Sugar Refinery, the largest employer in the town. He attended John Swett High School, where he made the football team; he also coached swimming.
In 1944, at age 18, during World War II, Aldo entered the United States Navy, serving as a frogman until 1946; he saw action at Okinawa with UDT-17. Upon leaving the Navy in May 1946 he returned to Crockett. He studied and played football at Vallejo Junior College, then entered the University of California at Berkeley to study political science. (Ray later described himself as an "arch conservative" and a "right winger".) He left college in order to run for the office of Constable of the Crockett Judicial District in Contra Costa County California. "I always knew I was going to be a big man but I thought it was going to be in politics", he said.
Acting career: Saturday's Hero
In April 1950 Columbia Studios sent a unit to San Francisco to look for some athletes to appear in a film they were making called Saturday's Hero (1951). Aldo's brother Guido saw an item on the San Francisco Chronicle about the auditions and asked his brother to drive him there. Director David Miller was more interested in Ray than his brother because of his voice; also, Ray was comfortable talking to the camera due to his political experience. He later recalled, "They...said 'What's wrong with your voice kid? Are you sick? If you're sick you don't belong here.' I said, 'No, no, no, this is the way I've always spoken.' And they loved it." Ray would later retell this story in the trailer for Pat and Mike.
Ray signed a contract and was sent to Los Angeles for a screen test. He was cast in the small role of a cynical college football player opposite John Derek and Donna Reed.
Ray worked on the film between the primary and general elections. He was elected constable on 6 June. "I was 23 and a sort of child bride to the voters", he later said. "The guy I ran against was a 16-year incumbent, and I destroyed him with 80 percent of the vote! I was going to work my way up to the U.S. Senate, see, and I would've, too."
Columbia picked up their option on Ray's services, and signed him to a seven-year contract. "Of all the people in the picture they took up only one option – mine", he said. "And I said, 'thank you, good bye. I'm going home where I can be a big fish in my small pond. You can take this town (Hollywood) and shove it."
Columbia refused to release him from his contract and put him under suspension, giving him a leave of absence to work as constable. "I told them I couldn't care less, they could give me whatever they wanted", he said. Ray started his new job in November 1950.
Hollywood stardom: The Marrying Kind
After several months Ray found "the quiet life... monotonous", so he contacted Max Arnow, talent director at Columbia, and expressed interest in appearing in more movies. Four weeks later Arnow called back, saying Columbia wanted to audition Ray for a small part in Judy Holliday's new movie, The Marrying Kind.
Ray went to Hollywood and did a screen test with the director, George Cukor. The first test went badly but head of Columbia Harry Cohn liked Ray and asked for another test. The second one was done opposite Jeff Donnell, who Ray later married; it was more successful and Ray ended up being cast in the lead.
Harry Cohn felt the name "Aldo Da Re" was too close to "Dare" and wanted to change it to "John Harrison"; the actor refused and "Aldo Ray" was the compromise. He divorced his wife and resigned as constable in September 1951. His wage was $200 a week.
Cukor famously suggested that Ray go to ballet school because he walked too much like a football player. The director later talked about the actor:
He has a great advantage: the way his eyes are made. The light comes into them. There are certain people who have opaque eyes which refuse to catch the light. But his eyes had a certain glow and gave quite well in the photographed result. He did this silent scene very well lying there on the bed in the same room with Judy (Holliday). Then later he did comedy scenes with her–very difficult ones–and there were also emotional sequences where he broke down and cried. They were brilliant.
"Cukor is hypersensitive to reality", recalled Ray. "He told me exactly what to do and why. He explains everything and he knows exactly what he wants." Ray's performance was much praised. Sight and Sound later wrote:
To give the performance he did in The Marrying Kind after so little previous experience was clear evidence that in Aldo Ray the screen had discovered one of its rare "naturals". This was no carefully edited, tricked out performance, but a strikingly sincere and imaginative interpretation: an exceptional talent responding to a finely intuitive director... There was about him none of the personality assurance that extracts a special consideration of the actor as distinct from his role.
Cukor then cast Ray in a support role in Pat and Mike, starring Spencer Tracy and Katharine Hepburn. Ray's work in Pat and Mike led to his nomination, along with Richard Burton and Robert Wagner, for a Golden Globe as Best Newcomer. Burton won the award that year, but Ray's career was launched. He says after two films with Cukor "I never needed direction again."
Ray said Spencer Tracy told him, "'Kid, I don't know what it is that you got, and I got, and some of us have, but you can work in this business forever.' That made me feel good, you know, coming from a guy like him. I never bowed down to anybody at Columbia or anywhere else, but my overall idea was, I'll do whatever they tell me because it's their business, not mine, and I've got to learn it."
Columbia leading man
Columbia Pictures head Harry Cohn liked Ray and wanted him for the role of Private Robert Prewitt in From Here to Eternity (1953) but Fred Zinnemann insisted Montgomery Clift be cast. However other good roles followed instead. ""Because of Harry, all my first pictures were big hits, tremendously popular", Ray recalled.
In 1953, he starred opposite Jane Wyman in Let's Do It Again, then followed this acting opposite Rita Hayworth in Miss Sadie Thompson (1953), a remake of the W. Somerset Maugham story Rain. He also appeared in a production of Stalag 17 at La Jolla Playhouse.
Ray was loaned to Warner Bros to appear in Battle Cry (1955). This was directed by Raoul Walsh who would be one of Ray's favourite directors. The film was a big hit at the box office – probably the most popular movie Ray ever made – although it led to him being typecast.
"In some ways the tough soldier role locked me in", reflected Ray later. "There were no sophisticated roles for me. I never seemed to get past master sergeant, though I always thought of myself as upper echelon."
Clash with Columbia
Ray was meant to appear in My Sister Eileen as The Wreck but walked off the set claiming his role was too small, and had to be replaced by Dick York.
Battle Cry was a big hit at the box office so Columbia gave Ray a lead role as a sergeant who marries a Japanese girl in Three Stripes in the Sun (originally The Gentle Wolfhound), then loaned him to Paramount for We're No Angels (1955), in which he starred with Humphrey Bogart, Peter Ustinov, Basil Rathbone, Leo G. Carroll, and Joan Bennett.
Ray was profiled in Sight and Sound which said:
Aldo Ray's technical advance in the four years since The Marrying Kind enables him now to work in subtler, more economical degree; there is an authoritative reserve- and, still remarkably intact, the original rare lack of ostentation. All the same, his career seems to have become a nomadic drifting round the studios looking for the right kind of film. The good humour, the lenitive smile, the frog in the throat voice betray nothing of the disappointment the actor must feel after such exciting beginnings under Cukor's guidance.
Ray was meant to appear in Jubal but refused, because Columbia had made a profit on his loan outs for Battle Cry and We're No Angels but not paid Ray a bonus; Rod Steiger took the role instead. Ray was put on suspension.
Ray then refused to appear in Beyond Mombassa because he did not want to go on location. This led to him being replaced by Cornel Wilde and put under suspension again. However the situation was resolved when he agreed to make Nightfall (1957), playing an artist who encounters a pair of ruthless bank robbers.
In 1956, in between appearances in Three Stripes In The Sun and Men in War, Ray tried his hand at radio, working as a personality and announcer at Syracuse, New York hit music station WNDR. A photo of Ray with a colleague in the WNDR studios, taken as part of a station promotional package, survives and can be found on a WNDR tribute website, although it's not known if any aircheck tapes of his radio shows still exist. By 1957, in any event, he had left WNDR and the radio business and returned to Hollywood.
On January 31, 1957, Ray appeared on NBC's The Ford Show, Starring Tennessee Ernie Ford. He and Tennessee Ernie Ford did a comedy skit from a foxhole.
Two with Anthony Mann
Columbia loaned out Ray to Security Pictures (who released through United Artists) to appear in Men in War (1957), opposite Robert Ryan; it was directed by Anthony Mann, who became Ray's favourite director. Ray was given 5% of the profits which he later estimated at having earned him $70,000.
Ray was reunited with Security Pictures, Ryan and Mann to star in God's Little Acre (1958), an adaptation of Erskine Caldwell's controversial novel directed by Mann, starring Robert Ryan and Tina Louise.
By the seventh year of his contract with Columbia Ray was earning $750 a week. He later said for the first ten years of his career he made less than $100,000. He expressed interest in producing his own vehicle, The Magic Mesa from a script by Burt Kennedy, but it was not made.
Instead Ray appeared in The Naked and the Dead, an adaptation of Norman Mailer's novel, directed by Raoul Walsh. It was produced by Paul Gregory who said:
Aldo Ray was drunk the entire time. He was a very sweet guy, but he was gone. He drank drank drank. Raoul Walsh would say, "Let's get him in the morning cause in the afternoon it's over."... I just could not get used to it, actors who got all this money and then didn't behave professionally. The English actors have classical training. They perform like professionals. You take someone like Aldo Ray who was just picked up and catapulted into stardom, and then he was just a sponge for booze. He killed himself drinking, not living up to his moral contract.
Ray later admitted producers were scared off casting him in projects due to his drinking.
Leaving Columbia
Ray had been popular with Harry Cohn because, in the actor's words, "He took no shit from anybody and he saw that I was that kind of a guy, too." But when Cohn died in 1958, Columbia elected not to renew Ray's contract and he decided to leave Hollywood. He later said "I never was an expatriate. I spent some time in England and Spain and Italy but I was never out of this country [the US] longer than six months."
He starred in 1959 in Four Desperate Men (The Siege of Pinchgut), filmed in Australia; it was the last movie produced by Ealing Studios (releasing through MGM), and a box office disappointment. He then appeared opposite Lucille Ball in an episode of Desilu Playhouse. He said he made more money from these two projects "than I'd made the whole eight years before."
In 1959, Ray was cast as Hunk Farber in the episode, "Payment in Full" of the NBC western series, Riverboat. In the story line, Farber betrays his friend and employer to collect reward money, which he uses to court his girlfriend, Missy.
Ray made The Day They Robbed the Bank of England in England and Johnny Nobody in Ireland. He later described his British sojourn as a "big mistake" because none of his British films were widely seen in America.
"Everything went well until the end of '62 – then everything collapsed – including me", he later said. "I didn't take care of myself physically and mentally."
He hired a press agent, started taking better care of himself physically and changed agents.
Return to Hollywood
Ray returned to Hollywood in 1964. He had a small role in Sylvia (1965) and made a pilot for a TV series financed by Joe E. Levine, Steptoe and Son (an unsuccessful adaptation of the British TV series). "I feel I shall have a complete regeneration of my career", he said in 1965.
He later appeared in What Did You Do in the War, Daddy?, Dead Heat on a Merry-Go-Round and Welcome to Hard Times. He also made several guest appearances on television.
In 1966 Ray claimed that "I've been turning down a lot of TV and B movies. I won't consider anything but important roles in important pictures." He said he was "almost independently wealthy" having saved and invested wisely in real estate from the times when his fee was $100,000 a film. He was interested in returning to politics but not until he had made "at least" four more movies. "The ideal situation would be three films every two years."
He formed his own company, Crockett Productions, and bought two original scripts that were not made: Soldares, by Edwin Gottlieb, about the search for Pancho Villa; and Frogman, South Pacific, by William Zeck.
His best-known work of the 1960s was his portrayal of Sergeant Muldoon, alongside John Wayne, in The Green Berets (1968).
Ray starred in Kill a Dragon shot in Hong Kong in 1966 and Suicide Commando shot in Rome and Spain in 1968. He also made two television pilots in the 1960s; neither was picked up.
Career decline
As the 1960s ended, Hollywood's appetite for Ray's machismo started to wane. Though he worked steadily in the 1970s, the quality of his roles diminished, and he was typically cast as gruff and gravelly rednecks.
In 1976 he said he was broke. He blamed this on his ex-wives and red tape that meant he could not develop his real estate properties. "I lost it all", he said. "And I am very very bitter about it.... The biggest mistake I ever made was discovering women. I only wish society had been as free and easy when I was coming along as it is today because if that had been the case I wouldn't have been married. Three women in my life utterly destroyed me."
In 1979, Ray appeared in a pornographic movie, Sweet Savage, in a non-sexual role. Ray said later:
I wanted, I guess, to see what it was all about--a kind of half-assed adventure, you know? It was also a kind of vacation for me in a bad time--a nice location in Arizona--and I picked up a few thousand bucks. After it came out, a few people wagged their fingers at me--'Oh-ho-ho, you dirty dog'--but I knew I hadn't done anything wrong. They shot all the sex stuff after I'd flown back to L.A. I won the adult film Oscar for that, by the way, but somebody copped it.
In 1981 Ray told a newspaper that his drinking was "under control" and "I think things are going to shoot straight up. I'm working on a deal now and if the picture is made my worries... are over... If things go the way I anticipate and I stay healthy I think I've got better years ahead of me than behind me." He said he was open to a return to politics "if my movie career doesn't take off like I think it will." He admitted being unhappy with his career saying "I think I should have gotten more good stuff."
His career decline accelerated in the 1980s, and after being diagnosed with throat cancer, he accepted virtually any role that came his way to maintain his costly health insurance. He returned to Crockett in 1983.
Ray was originally cast in the role of Gurney Halleck in David Lynch's 1984 adaptation of Frank Herbert's novel Dune, but was replaced by Patrick Stewart due to ongoing issues with alcoholism.
He made a number of films for Fred Olen Ray. "He'd give me $1000 in cash, pay my expenses, and I'd do a day's work", said Ray. "Somebody showed me one of his cassettes--'starring Aldo Ray'--but it was just a one-day job.... I needed money at the time, and Fred knew I needed a buck, so I did it. He exploited me, yeah, but I was ripe for it."
Final years and death
In 1986 Ray's SAG membership was revoked when it was discovered he was acting in a non-union production, Lethal Injection. However Ray still got his union pension and benefits. His fee at this stage was $5,000 a week.
In 1989 he was diagnosed with a malignant tumor.
His last film was Shock 'Em Dead which was filmed in 1990 appearing with Traci Lords and Troy Donahue. The same year he was interviewed and said:
I regret that I don't have more control of my tongue and thoughts--because I speak too frankly and too honestly, and this world is not meant for frank and honest people. They don't mix. Reality is pretty phony... I'm in great shape--got all my energy and strength back. I had surgery on my neck last March, and after one more session of the chemo--that's 50 more hours--the doctors say I'll have it all beat. . .I'm not scared of dying--it's how I die that matters. I'd rather live one good year than ten crappy years. And I think I've got some good pictures ahead of me if I can find the right roles. There's plenty of good stuff left in me, you know?
Ray remained in Crockett, with his mother and family and friends. On 19 February 1991 he was admitted to the Veterans Administration Hospital in Martinez, 40 miles east of San Francisco. He died of complications from throat cancer and pneumonia on 27 March. He was cremated and buried in Crockett, with a majority of the residents coming out to pay their respects.
Personal life
Ray was married several times:
Shirley Green. They had one child, a daughter named Claire.
Jeff (real name, Jean) Donnell (married 30 September 1954, divorced 1956)
British actress Johanna Bennet (married 1960, divorced 1967), who continues to work today under the name Johanna Ray, as a respected casting director. They had two sons and a daughter. Johanna Ray, a longtime collaborator with David Lynch, cast her son Eric Da Re with Aldo in Lynch's Twin Peaks series, as well as the movie Twin Peaks: Fire Walk with Me.
Legacy
Author Richard Matheson said that his best-known work, The Incredible Shrinking Man, was inspired by a scene in Aldo Ray's Let's Do It Again in which a character puts on someone else's hat and it sinks down past his ears; "I thought, what if a man put on his own hat and that happened?" he recounted in an interview for Stephen King's non fiction work Danse Macabre.
Quentin Tarantino says Aldo Ray would have been ideal casting for the character of Butch in Pulp Fiction (1994), and the look of Butch in the film (as played by Bruce Willis) was inspired by Ray.
Brad Pitt's character in writer-director Quentin Tarantino's 2009 war film Inglourious Basterds is a soldier named "Aldo Raine."
The Crockett Museum has a display depicting his life.
A profile in Movie Morlocks analysed Ray's appeal from the film Nightfall:
Nobody smokes a cigarette like Aldo Ray. There's no forethought involved. No effort to seduce or impress audiences with an exaggerated pose or gesture. Ray doesn’t have to pretend to be cool, threatening, bruised, battered or tough. He just is. And I find every unassuming gesture he makes utterly captivating. Aldo Ray has never been considered a great Hollywood actor in the traditional sense but his natural, unaffected performances often seemed to emerge from some unsettled place. You could frequently hear a genuine urgency in way he delivered his lines and his casual swagger told you he’d been around the block more than once. Whenever Ray erupted on screen it felt like you were watching a volcano explode and if you didn’t get out of the way it could easily swallow you up in a heavy flow of golden molten lava. Film historians often like to talk about the sea change that occurred in the 1950s, when actor's like Montgomery Clift and Marlon Brando brought a new kind of sincerity to Hollywood. These highly trained method actors changed the way we appreciate and understand acting today and they’ve rightfully been recognized for their accomplishments. But there were other performers that unconsciously championed a new kind of natural approach to acting. And one of them was Aldo Ray.
|
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| 22
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https://www.oldtimeradiodownloads.com/actors/jeff-donnell
|
en
|
Old Time Radio Downloads
|
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[] |
[
"Old Time Radio Downloads",
"Jeff Donnell (performer",
"intermission guest: Columbia starlet)"
] | null |
[] | null |
The buzz-term for Old Time Radio is 'OTR'. OTR usually means radio broadcasting from the golden age of radio,
mostly before 1964.These shows from the pre-television age include adventure,
comedies, mystery shows, western dramas and shows from World War II.
|
en
|
https://www.oldtimeradiodownloads.com/assets/img/favicon.ico
| null | ||||||
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https://www.amazon.com/prime-video/actor/Karen-Jensen/amzn1.dv.gti.5ba95648-5e17-4522-9c94-71d7d3e6c0eb/
|
en
|
Karen Jensen: Movies, TV, and Bio
|
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[] |
[] |
[
""
] | null |
[] | null |
Browse Karen Jensen movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
|
en
|
https://www.amazon.com/prime-video/actor/Karen-Jensen/amzn1.dv.gti.5ba95648-5e17-4522-9c94-71d7d3e6c0eb/
|
Karen Jensen was born on August 18, 1944 in San Francisco, California, USA. She is an actress, known for Emergency! (1972), The Salzburg Connection (1972) and Mannix (1967). She has been married to Brendon Boone since January 30, 1999. She was previously married to John Neilson and Michael Stroka.
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https://www.linkedin.com/pulse/social-anti-social-determinants-health-jeff-donnell
|
en
|
Social (and anti-social) determinants of health
|
https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr
|
https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr
|
[] |
[] |
[] |
[
""
] | null |
[
"Jeff Donnell"
] |
2020-02-04T20:21:10+00:00
|
Much is made these days of Social Determinants of Health (SDOH), or the impact that various socio-economic factors can have on access to and outcomes of health services. I recently had an up-close and personal healthcare experience that underscores how an individual with certain advantages might far
|
en
|
https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
|
https://www.linkedin.com/pulse/social-anti-social-determinants-health-jeff-donnell
|
Much is made these days of Social Determinants of Health (SDOH), or the impact that various socio-economic factors can have on access to and outcomes of health services.
I recently had an up-close and personal healthcare experience that underscores how an individual with certain advantages might fare better in navigating our healthcare system.
Given that I work in health IT, I have access to a network of medical professionals — clients, colleagues, friends, board members and advisors who practice medicine and are well-connected to the best and brightest healthcare providers. To top it off, my daughter-in-law is a physician, as is her father (a gastroenterologist).
A few days before the end of 2019, I was having a morning cup of tea when I experienced discomfort in my upper left abdomen. That discomfort quickly intensified and radiated to my back. Within 30 minutes I could not sit or lie down, and I paced the floor. Nausea soon followed, and sweat rolled off my bald noggin as though I had installed a fountain on top of my head.
A text describing these symptoms to my gastroenterologist in-law was quickly answered with a call and some diagnostic questions. He surmised it was either a kidney stone or heart attack (would you prefer a stab wound or a gunshot?), and dispatched me to the nearest ER with a promise to call ahead and let them know I was coming.
I advised my wife that her morning routine was out the window, and she ferried me to the hospital. Upon arrival, I was immediately whisked to a room and a nurse was setting up an IV and drawing blood. She remarked that the ER was slammed and they were putting patients in the halls, and she wondered why I rated the royal treatment. She also advised us that the doctor on duty was up to his eyeballs and it might be a while. A few minutes later, the doctor materialized and noted he had spoken to my doctor-in-law. After a quick diagnostic workup, he landed on a kidney stone and sympathized as he had recently passed one. He ordered a CT to confirm, and prescribed a full bolus of Dilaudid to address the pain.
The nurse administered the medication, and informed my wife I would be drifting off to sleep. My body and brain had other ideas, and I evidently began loudly singing “kidney stone carols” — altering the lyrics to Jingle Bells and Oh Tannenbaum to reflect the painful passage of a bowling ball wrapped in barbed wire. After the CT scan confirmed the kidney stone diagnosis and the movement of the tiny boulder from the kidney to the bladder, I was quickly discharged — in part to get my Dilaudid deluded antics off the floor.
I was in and out of the ER in two hours, and could not help but reflect on the impact of my particular SDOH. Based on who I know, what I do and who my son married, I was able to secure rapid advice and a golden ticket to the front of the line. I avoided an ER wait and hallway treatment, the physician on call had a heads up and saw me quickly, and my care (and pain alleviation) was expedited. Add in my Dilaudid-fueled disruption and I was able to enjoy fast-track discharge. The icing on the cake — I have great health insurance coverage and my out-of-pocket was zero (although that is thanks in part to an already met deductible and a December 30 date-of-service).
Contrast this with abundant tales of woe regarding access, wait times, and the general difficulty that so often accompanies healthcare. I fully recognize how fortunate I am, and have nothing but empathy for those who lack the advocacy, connections and resources that are all but necessary to address the extensive barriers that stand in the way of superior care and outcomes.
I also applaud some of the innovative things our employer clients are doing to help address SDOH. Our clients operate their own onsite employee health clinics, and a good number of them provide incredibly convenient urgent and primary care services. Other initiatives range from forging intentional relationships with local health systems to help ensure that employees and their families receive superior treatment, to adopting innovative practices such as concierge-style travel to best-in-class providers for specific surgical procedures. Likewise, our health system clients are expanding their services to employers, moving beyond bread and butter occupational health to layer in chronic disease management and health and wellness offerings. Absent these programs, most employees would be forced to take a number, queue up in a seemingly never-ending line, and endure the indignities inherent in navigating the care continuum.
|
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1
| 78
|
https://tv.apple.com/us/person/vic-morrow/umc.cpc.y62iuscerwpgysn4ahvad2z3
|
en
|
Vic Morrow Movies and Shows
|
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[] |
[
""
] | null |
[] | null |
Learn about Vic Morrow on Apple TV. Browse shows and movies that feature Vic Morrow including The Bad News Bears, Twilight Zone: The Movie, and more.
|
en
|
/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
|
Apple TV
|
https://tv.apple.com/us/person/vic-morrow/umc.cpc.y62iuscerwpgysn4ahvad2z3
|
The Angry Gun
Lucas and Mark are robbed while riding the stage back from a cattle sale.
Letter to the Law
Lucas makes a life-or-death decision when Micah is held hostage and the kidnappers demand the release of a notorious outlaw.
The Avenger
A wanderer (Vic Morrow), seeking his parents' lynchers, arrives in Virginia City as Ben and Adam are convicted of murder.
Two Doves and Mr. Heron
Vic Morrow guest stars as Edward Heron, a tourist in Hawaii, who, after being mugged and hospitalized, becomes the object of McGarrett's suspicions when he refuses to press charges and disappears from the hospital.
|
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|
https://www.amazon.com/prime-video/actor/John-Smith/amzn1.dv.gti.6fbcbb64-3ddb-40c6-8716-da66b95fe81b/
|
en
|
John Smith: Movies, TV, and Bio
|
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Browse John Smith movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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en
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https://www.amazon.com/prime-video/actor/John-Smith/amzn1.dv.gti.6fbcbb64-3ddb-40c6-8716-da66b95fe81b/
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Actor John Smith was born Robert Errol Van Orden in Los Angeles. He began his career singing with The Robert Mitchell Boy Choir, a group which appeared in two Bing Crosby films, Going My Way (1944) and The Bells of St. Mary's (1945).
His agent Henry Willson, who also gave Tab Hunter and Rock Hudson their names, changed Van Orden's name to "John Smith". Robert Hofler, author of "The Man Who Invented Rock Hudson", reports that an actress identified as Pocahontas Crowfoot was in the courtroom when the name change was granted.
In We're No Angels (1955), Smith had a small role as "Arnaud", the ship's doctor. Aldo Ray, observing the doctor in full dress whites, says "he looks like a glass of milk". John Smith's other film credits include Circus World (1964) and Justin Morgan Had a Horse (1972). Smith also appeared in the television westerns Cimarron City (1958) and Laramie (1959).
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https://christinawehner.wordpress.com/2015/12/14/were-no-angels-1955/
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en
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We’re No Angels (1955)
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2015-12-14T00:00:00
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"What a cast!" was my first thought as I read about the Christmas film We're No Angels: Humphrey Bogart, Peter Ustinov, Aldo Ray, Joan Bennett, Basil Rathbone, Leo G. Carroll! And directed by the incredibly diverse Michael Curtiz? Woohoo! "What was that?" was what I first wondered when I had completed watching it. I suspect that…
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en
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https://s1.wp.com/i/favicon.ico
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Christina Wehner
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https://christinawehner.wordpress.com/2015/12/14/were-no-angels-1955/
|
“What a cast!” was my first thought as I read about the Christmas film We’re No Angels: Humphrey Bogart, Peter Ustinov, Aldo Ray, Joan Bennett, Basil Rathbone, Leo G. Carroll! And directed by the incredibly diverse Michael Curtiz? Woohoo!
“What was that?” was what I first wondered when I had completed watching it. I suspect that I am going to get into trouble if I try to analyze the film too closely. But purely on a superficial level, on the strength of it’s cast and script, We’re No Angels is both sentimental and somewhat darkly comedic and deliciously enjoyable. After all, how many angels kill the villain with a snake to bring peace and happiness to the heroes? I suppose that’s why they’re not really angels. I’m getting ahead of myself.
In 1895 on Devil’s Island in French Cayenne, three convicts escape from prison on Christmas Eve. They are Joseph (Humphrey Bogart), Albert (Aldo Ray) and Jules (Peter Ustinov). And Adolphe, Albert’s poisonous pet snake. Because there are many convicts on parole on Devil’s Island, they figure they can walk boldly into the city and no one will notice them. Their plan is to forge passports, steal clothes and murder the owner of the general store where they plan to get their materials and then slip away on a ship back to Paris.
The general store they select is run by the vague and ineffectual Felix Ducotel (Leo G.Carroll), who is nevertheless a kind and honest man. Joseph wants to hang around until dark, so he offers to have the three of them fix Felix’s roof. While on the roof, they listen to Felix talk to his wife, Amelie (Joan Bennett) about their business difficulties, their daughter, Isabelle (Gloria Talbott) and Cousin Andre (Basil Rathbone), who is the rich business man who owns their general store. He is arriving that evening from Paris with his nephew (who Isabelle loves) to look at the books. Since Felix is a hopeless businessman, their fear is that Cousin Andre, who is a ruthless businessman, will throw them in prison.
As the convicts listen, they are drawn into the family’s concerns and their inherent goodness, but Joseph insists that they stick to the plan and cut their throats that night (“Now that’s the kind of thing that makes people stop believing in Santa Clause,” Jules complains). But instead they end up helping sort out the family’s affairs, both business and romantic, and go out of their way to give them a Christmas they’ll never forget.
We’re No Angels is based on a French play and is a somewhat offbeat story. The three convicts are just as much avenging angels as good angels. They literally appear from on high (the roof) to help, even if they are kind of peeping toms. Bogart plays the scam artist who can sell anything (including combs to a bald man), cook any books and forge anything. Ustinov was a successful safe cracker who is only in jail because he murdered his wife. Aldo is the lug who murdered his uncle for not giving him money when he asked and likes to chase women.
But the Ducotel family doesn’t seem to mind having murderers, rapists and scam artists around. They are hopelessly naive, but honest and treat the three convicts like anyone else…actually, more like family friends. They even invite them to share their Christmas dinner with them. Jules begins to have second thoughts about murdering them that night, but Joseph insists they remain strong.
We came here to rob them and that’s what we’re gonna do – beat their heads in, gauge their eyes out, slash their throats…soon as we wash the dishes.
The three of them make a great team, always lolling about, stealing from the local community (the Ducotel’s become the unknowing repository of stolen goods), offering sage advice, cooking dinner, arranging flowers, washing dishes, being insolent to the villains, playing matchmaker, singing a carol in three part harmony. They combine a recognition of goodness with a perfectly open zest for criminality and rejoice when Cousin Andre unexpectedly arrives, because in the words of Jules, he was getting tired of all this niceness. But for all their talk about cutting throats and murder, it’s clear they’re really just big softies.
All three actors – Bogart, Ray and Ustinov – approach their roles lightly and seem to be having a great time. I particularly enjoyed Ustinov and Bogart, who I don’t usually associate with comedy, but he certainly can deliver a line. Basil Rathbone as Cousin Andre is also fantastic, showing up later in the film to make a big impression as the walking cash box. To an angry Isabelle, he says with complete indifference, “Your opinion of me has no cash value.”
Oddly enough, by being fugitives from prison, it actually frees the three of them from having to follow society’s laws, or even it’s most basic morals dictates. Joan Bennett as Amelie mentions to Joseph several times that she envies him for doing what he wants. Ironically, they also do what she dreams of doing, but would never do – which is kill Cousin Andre. So, crooks make it possible for the innocent people to go on being innocent and happy by committing murder? Somehow, that seems morally dubious, but hey! It’s a fun film, heartwarming despite that.
Bogart with his stolen turkey, while Ustinov admires his “beautiful big brown eyes.”
Bogart makes a sale and Joan Bennett is somewhat overwhelmed by the three convicts many talents.
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https://www.wikidata.org/wiki/Q275769
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en
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Jeff Donnell
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actress (1921-1988)
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en
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/static/apple-touch/wikidata.png
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https://www.wikidata.org/wiki/Q275769
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actress (1921-1988)
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https://www.whosdatedwho.com/dating/jeff-donnell
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Who is Jeff Donnell dating? Jeff Donnell boyfriend, husband
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20 August 2024... Jeff Donnell news, gossip, photos of Jeff Donnell, biography, Jeff Donnell boyfriend list 2024. Relationship history. Jeff Donnell relationship list. Jeff Donnell dating history, 2024, 2023, list of Jeff Donnell relationships.
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https://www.whosdatedwho.com/dating/jeff-donnell
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https://www.momjunction.com/baby-names/aldo/
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Aldo Name, Meaning, Origin, History, And Popularity
|
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[
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2024-08-17T04:23:57+00:00
|
Aldo is an exquisite name that exudes class, confidence, and charm. Keep reading the post to uncover its fascinating origins, history, and deep meanings.
|
en
|
MomJunction
|
https://www.momjunction.com/baby-names/aldo/
|
In This Article
Origin, Meaning, And History Of Aldo
Aldo is a masculine name commonly found in Italy. However, its etymology has roots in Germany and Italy. In German, Aldo comes from Germanic names beginning with the elements ‘alt,’ which implies ‘old,’ and ‘adal,’ which means ‘noble.’ Some examples of such German names include Aldebrand, Aldhard, and Aldric.
In Italian, Aldo is considered an equivalent to the English name Aldous, which is believed to be a diminutive of names that begin with the Old English element ‘eald,’ meaning ‘old.’ Meanwhile, in Estonian, Aldo is a male name related to other names such as Aldur, Eldur, Heldur, Haldur, and Haldo.
Aldobrandesca, also known as Aldo, was an Italian saint, mystic, and nurse who is a notable bearer of this name. She became a member of the Humiliati, a religious order of women in Italy that focused on helping the poor and the sick. Aldobrandesca was highly revered in Siena and was called a popular curiosity in the town due to the numerous miracles, ecstasies, and trances that were attributed to her.
The name Aldo has different meanings depending on the language and origin. In English, Aldo means ‘archaic,’ while in Teutonic baby names, it means ‘rich.’ Aldo is also a surname in Italy, derived from the personal name Aldo, a shortened form of several compound names of ancient Germanic origin formed with the element alda, meaning ‘old wise.’
In fiction, Aldo is one of the two main characters in the animated television series Sitting Ducks. A gorilla in the Planet of the Apes series of movies is also named Aldo. Additionally, Aldo is the main character in the Italian comic strip Venerdì 12 and a minor character in the television series Lost.
Another notable character named Aldo is Aldo Burrows from the popular television series Prison Break. In the comic strip Mary Worth, Aldo Kelrast is a character with the name. Finally, Aldo Raine is a character from the critically acclaimed film Inglourious Basterds.
How To Pronounce Aldo?
‘Aldo’ In QR Code
Notable People Named Aldo
This section covers people who have made the name Aldo famous with their contributions in various fields. It indeed is a little more inspiration for you to choose the name for your baby, don’t you think?
Aldo LeopoldAmerican writer, philosopher, naturalist, scientist, and environmentalist
Aldo MoroPolitician
Aldo ZilliChef and restaurateur
Aldo RayActor
Aldo RossiArchitect and designer
Aldo LadoItalian film director and screenwriter, well-known for the films Short Night of Glass Dolls
Aldo NovaCanadian musician, well-known for his studio album Aldo Nova and debut single Fantasy
Aldo GiuffrèItalian film actor and comedian, well-known for his roles in the 1962 film The Four Days of Naples
Aldo On The Popularity Chart
Check the popularity and ranking of the name from the graphical representations given below.
Popularity Over Time
The popularity of the name Aldo has varied over time. Refer to the accompanying graph to observe its performance throughout the years.
Source:
Rank Over Time
Aldo’s ranking has improved slightly in recent years. Check the graphical representation below to understand the name’s ranking journey better.
Source:
Popularity Within US States
If you're living in the US, you might be curious about the popularity of Aldo in your own state, a state you're considering moving to, or one with which you have a connection. Use the drop-down menu below to select any US state and discover the name's popularity within that region.
California
Texas
Florida
Source:
Aldo Name’s Presence On Social Media
Before you finalize your baby’s name, you would want to assess if the name is rare or popular. Digital footprint of the name - it’s presence on the internet and social media platforms - can provide you with valuable insights on it’s popularity. A name’s online presence is an important metric for new parents to evaluate their options and make an informed choice. How many people are searching the name on Google, how many profiles are there on Facebook, does the name have a Wikipedia page? Such information surely tells you if the name is ubiquitous or unique. Here is how Aldo fares on that count.
Aldo’s Mention In Fictional Works
Names With Similar Sound As Aldo
If you like the way Aldo sounds, you might like these names that sound similar to it.
Popular Sibling Names For Aldo
If you are looking for some matching sibling names that resonate with Aldo, check our suggestions here.
Other Popular Names Beginning With A
Looking for more baby names starting with the letter A to resonate with your family’s naming tradition or to rhyme with the sibling names? Find a range of alternative names starting with this letter.
Names With Similar Meaning As Aldo
Here are some names with similar meanings to Aldo that you may consider:
Names Rhyming With Aldo
The significance of rhyming names extends beyond their aesthetic appeal and a good feel. The repetition and symmetry enhance their memorability. If you want your children’s names to be easily remembered or tune with your name, try some rhyming names. Here are such names that rhyme with Aldo.
Anagram Names Of Aldo
William Shakespeare is known for his ‘onomastic wit,’ with anagrams being one of them (remember the play Twelfth Night?). Anagram is the rearrangement of the same letters to form different words. Anagramming names has been in vogue for centuries now, and why not when it can create some cute names? Anagram baby names stand out with their unique sound and spellings. You may try an anagram of your name or your partner’s; even better if you combine both names and then try an anagram for the baby. It all stays in the family this way. You may also try anagram names for siblings, especially twins. Here are some anagrams of Aldo.
Adol Dola Lado
Popular Songs On The Name Aldo
Acrostic Poem On Aldo
Dive into the lyrical charm of the name Aldo with this acrostic poem. Witness how each letter paints together a story, capturing the name’s individuality, strength, vitality, and sophistication. Inspiring, is it? Why not try a similar poem that describes what you think of your baby’s personality?
Adorable Nicknames For Aldo
Nicknames are an integral part of your communication with your baby. You tend to use several variations of your child’s name; some are meaningful, while others are simply adorable sounds. Here are a few nicknames you can begin with for the name Aldo.
Al
Aldy
Dodo
Ald
Odo
Aldo’s Zodiac Sign As Per Western Astrology
Western astrology includes the construction of a horoscope based on the person’s exact time of birth and location to understand the positions of the planet, stars, and zodiac signs at that time. However, in popular culture, it is often narrowed down to the sun sign, which depends on the person’s birth date.There are 12 zodiac signs, each having dominant traits, planetary rulers, elemental connection, and more.
Zodiac sign or Sun sign
The Earth’s orbit around the sun is divided into 12 zodiac signs covering 30-degree sectors. According to Western astrology, the zodiac or sun sign depends on the sun’s position in one of these sectors at the time of your birth. Starting from the sun’s position at the March equinox, the chart goes anti-clockwise from Aries, followed by Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, and Pisces. These signs are ruled by planetary bodies - Mars, Venus, Mercury, Moon, Sun, Jupiter, Saturn, Uranus, and Neptune. Furthermore, they are categorized into triplicities or elemental signs - fire, water, air, and earth - that govern their characteristics. Each of these zodiac signs features certain personality traits that may determine how a person presents themselves.
Each zodiac sign in Western astrology is linked to a specific range of dates in the year. Unlike Vedic astrology, where names can sometimes be used to infer astrological details, Western astrology relies entirely on the birth date.
To know more about your baby’s zodiac sign, choose the period in which your baby’s date of birth falls, from the options given below. This will give you a glimpse into the world of astrology tailored for your baby.
Aldo’s Zodiac Sign And Birth Star As Per Vedic Astrology
Aldo Personality Traits As Per Numerology
The numerology belief system envisages a relationship between a name and numbers. The related numbers are believed to give insights into a person’s character. We have researched this area to connect the numerology-based characteristic traits to the letters of the English alphabet. And the results are fascinating.
Numerology followers believe that each letter signifies attributes that can influence a person’s attitude and approach. Among these placements, the most significant are the first letter (Cornerstone) and the last letter (Capstone) of a name. Cornerstone highlights your primary personality traits and explains how you face challenges and opportunities in life. Capstone can tell you about your approach to work and how you complete them. Often, a letter may be repeated twice or more in a name. This repetition signifies the intensification or amplification of the traits associated with the letter in an individual’s personality.
Read to know what characteristics the name Aldo is known for in numerology. Here we have avoided repetition of letters and added them just once for a better reading experience.
Infographic: Know The Name Aldo‘s Personality As Per Numerology
Aldo In Different Languages
Aldo In Fancy Fonts
Visualize your little one’s name in different captivating fonts. You can use these fancy styles on birth announcement cards, nursery decorations, personalized gifts, to name a few. Select the perfect font from these options for a touch of personalization.
Double Struck Font
𝔸 𝕝 𝕕 𝕠
Bold Script Font
𝓐 𝓵 𝓭 𝓸
Fancy Style 35 Font
α ﾚ d ⊕
Fancy Style 7 Font
Δ Ł Đ Ø
Love Font
A♥ l♥ d♥ o♥
Black Square Font
🅰 🅻 🅳 🅾
Hand Writing 2 Font
A ʅ ԃ σ
X Above Bellow Font
A͓̽ l͓̽ d͓̽ o͓̽
Adorable ‘Aldo’ Wallpapers To Share
Liked our fancy fonts for Aldo? Why not go a step forward with these beautiful posters? They are perfect to download and use as display pictures or social media posts! You may also use them as part of decorating your child’s room. These personalized wallpapers celebrate the positive vibes of the name, offering a unique way to show how much this name means to you. What’s more! You have multiple options here to choose depending on your mood or occasion.
Aldo 3D Wallpaper
Aldo Birthday Wallpaper
‘I Love Aldo’ Wallpaper
Stylish Aldo Wallpaper
Aldo Name Initial Wallpaper
How To Communicate The Name Aldo In Sign Languages
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https://caratsandcake.com/articles/wedding-vendor-team-taylor-and-jeff
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Upstate New York Wedding Venues
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Inside Taylor & Jeff's stunning forest wedding in upstate New York. See all of the details, and connect with the NY vendors who made it happen.
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Decision 1
Wedding Venue
They considered some 200+ venues online and checked out nearly a dozen in person. They narrowed it down to one, paid their deposit. But they kept thinking about their engagement, and several months in, they realized that what they were planning just no longer felt right. What did feel right was getting married at exactly the same spot where the proposal took place—somewhere they love to visit and that holds many happy memories for them. So they cancelled their initial wedding plans and made the switch.
Now getting closer to fall, and being mindful of dropping temps, they moved the wedding date up a month to Labor Day weekend of 2021. They would hold their ceremony in the precise location where their proposal unfolded, June Farms, transforming an already beautiful landscape into something that channeled the all-American classic style of Ralph Lauren holiday commercials, and the sexiness and dark moodiness of Tom Ford ads, with a touch of Taylor Swift’s Folklore.
“June Farms is a beautiful farm upstate. It’s one of our favorite places to go to escape the city, and we love taking our dog and just running around the property and staying in their beautiful cabins. Matt, the owner, also became a fast friend to us and is also part of the LGBTQ+ community so we always felt comfortable there.” —Taylor, groom
Decision 2
Wedding Photographer & Videographer
While they had already begun their search for a duo of vendors to document their original wedding day, they quickly moved to solidify their decisions. The social media-savvy pair selected photographer Sarah Sayeed and videographer Joyce Films.
“One of the first decisions we made were photographer and videographer because in our minds, everything was important (venue, florals, design, etc.) but we knew the photos and videos are what we would look back on the most. We found our wedding photographer and videographer on Instagram after getting sucked down a black hole of random people’s weddings. We loved Sarah Sayeed’s photography, how she used color, and just her overall vibe. And for our videographer, all it took was me seeing one wedding teaser by Joyce Films. I was sold. We were going to do whatever we had to do to make sure we got her. We make YouTube videos ourselves, and look back on our videos like home movies, so video content was very important to us. It’s the best way to relive those moments. I think we’ve watched our wedding teaser 100+ times and it just takes us right back to those moments, it’s so special.” —Taylor, groom
Decision 4
Wedding Caterer
When it came time to hire a caterer, the grooms were a bit nervous. Afterall, they live in NYC and are surrounded by amazing food at every turn. Their expectations were high, especially knowing guests often talk about whether the food was good (or bad) at a wedding. But thankfully, June Farms suggested a local option, Mazzone Hospitality, whose menu offerings wowed the couple.
“We were able to build a fully customized menu. We had the most stunning selection of food and everything was truly so good.” —Taylor, groom
Decision 5
Wedding Flowers & Decor
How they found the next addition to their vendor team is quite a story. During the summer of 2020, the grooms were hired to play husbands for a wedding photoshoot. They arrived on location, where everything was set up like a real wedding. The design (courtesy of Josh Spiegel of Birch Event Design) blew them away. Since their initial florist had fallen through, Josh came into their lives at the perfect moment, and he then tapped a lighting vendor (Dynamic Vision) and oversaw rentals (ABC Fabulous Events and Luxe Event Rentals) and a custom dance floor (Bombshell Graphics) to bring it all to fruition.
“We quickly made friends with the owner of Birch, Josh Spiegel. He had his daughters with him and we were making TikToks and just having a great time getting to know each other. We told Josh that we were actually planning our own wedding and we didn’t have anything solidified yet, and he was like ‘We’re working together—I need to do your wedding.’ From then on out we were three peas in a pod.” —Taylor, groom
“Josh and the guys at Dynamic Vision absolutely killed it. We had fairy lights every three inches across the ceiling of the tent. They also dimmed and moved to the music so it was insane. We curtained off the entire tent with deep green velvet so it was fully enclosed, and the whole place felt more like a cozy lounge. It was exactly what we wanted.” —Taylor, groom
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Join us and watch this tribute and dedication to Aldo Ray !!! Highlights from the candle light vigil images of Al during his career along with words...
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Join us and watch this tribute and dedication to Aldo Ray !!!
Highlights from the candle light vigil images of Al during his career along with words...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/MaldenPD/videos/officer-allan-f-aldo-ray-memorial-dedication/254711323010426/
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https://vintagepaparazzi.com/whos-no-angel-aldo-ray-jeff-donnell/
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Who’s No Angel?—Aldo Ray & Jeff Donnell
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2023-02-23T12:00:00+03:00
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His feathers are sometimes ruffled. And he often growls in most unangelic tones. But he’s a heavenly guy to live with. Ask Mrs. Aldo Ray!
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Vintage Paparazzi - It is a news site that aims to reach today's people with the original news published by many celebrities who have achieved fame from the past to the present.
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https://vintagepaparazzi.com/whos-no-angel-aldo-ray-jeff-donnell/
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Along a shady, tree-lined street in North Hollywood, in a lovely sprawling corner house, live the Aldo Rays. Their house is much like every other home on the block, with this exception—the doorbell doesn’t work. To raise the household, one must be clairvoyant and beat on the door at the exact moment. Aldo, Jeff, Sally or Mike might be peering out from behind the front window. This is no easy feat—they’re usually elsewhere. Behind the house, there used to be a back yard—until Aldo filled it in with brick, cement and water and converted it into a swimming pool. The pool, incidentally, is the reason why the Rays both drive around in old cars. They had their choice.
Every day, except Saturday nights when she plays to the whims of George Gobel, Jeff Donnell bows to a bigger, more whimsical guy whom she affectionately calls “Altitude.” If you think this is a joke, ask Alice—I mean Jeff.
“Before we were married,” Jeff confides dismally, “Aldo looked like a Greek god. He bought eight beautiful suits and was slicked up all the time. Now he looks like a—”
“Slob,” rasped Aldo coming from underneath the ground. He was still working on the swimming pool—in T-shirt and ragged jeans. “It kills me to slick up,” he confessed honestly. “Typical male story, I know. But men will thank me for being honest, won’t they dear?”
“And women will hate you,” responded his mate.
“My mother doesn’t hate me,” Aldo commented quickly. “Although Jeff thinks I’m cruel to her.”
“Well, you’re too blunt.”
“I merely said that her dinner was lousy. That sure was one time when her food experiment didn’t turn out.”
Conversation deadlocked, Jeff changed the subject tactfully, hinted that she’d like to see the work he’d done on the pool. “Ha,” his grin broadened. “It’ll be finished soon. Twenty by forty—enough room to really swim. Then,” casting a defensive eye at Jeff and covering his midriff with his hand, “I’ll swim down to a hundred and ninety pounds.”
Finding no sympathy in Jeff’s eye, he added ruefully, “Look, I burned my hands. That new brick I laid in the patio. I found the cement had chloric acid.
Jeff and Aldo are happy. They planned it that way. Friends use to plague them with “When are you two getting married?” Finally, when everyone had given up, they married. “The reason was a very practical one,” says Aldo. “We had to be sure we had enough money for marriage.” Aldo, the oldest of seven children, six boys and a girl, knew poverty as a kid. “My father was a poor laborer who sacrificed all for his family—and Mother sacrificed even more.” Aldo’s careful consideration for money was understandable and Jeff realized that for him happiness had to be planned—like their house, their swimming pool and Jeff’s holdout with his studio for better roles.
With the success of “We’re No Angels,” Aldo thought it time to take a stand for better roles. He refused “Jubal Troop.” His career is important to him, but so are the roles he plays. He took suspension on the chin with his natural good humor. “Now I’ll have time to enjoy people.”
“Aldo loves meeting people,” Jeff confides. “He has kind of a happy vitality that people like to get close to. Mrs. Hammond, who’s been with me and the children for years, has fallen in love with him. Now everything takes a back seat to Aldo. If we can’t find her, we know she’s in her room, filling her scrapbook with his clippings. Recently, Aldo filled in for Marlon Brando at an award dinner of the Sound Technicians Union. He loved it. ‘With my voice, nobody knows better than I do how important you guys are,’ he thanked them. And you should have seen him at the Hollywood Woman’s Press Club party. All those women and one man. He was in his glory. For a minute, when he came in, he was thrown. But, of course, he would never admit it.”
“Admit what?” interrupted the object of the conversation. “I’ll admit anything. I admit I think special days for special things are ridiculous. Like Mother’s Day, anniversaries, Father’s Day, dog day. Name it, I think it’s crazy. I like to remember people with presents when I feel like it and I don’t want an advertising genius to tell me when to honor my mother. I admit it.” He disappeared again toward the back yard.
“Aldo’s really serious, you know,” Jeff explained. “For two reasons, I think. One, he really does hate to be told—his whole family is that way. But the other reason, I think, is that they didn’t have enough money to celebrate birthdays, anniversaries, Mother’s and Father’s Days, and he just naturally built up dislike for the idea.”
Mike, Jeff’s young son, came cautiously into the living room. “Is he out back?” he asked with a conspiratorial wink. “I hid it where he can’t find it. Okay?”
“Okay,” his mother affirmed. After the introductions, she explained, “It’s not as mysterious as it sounds. It’s just Aldo’s birthday present. He’s really like a small boy when you give him a gift. Mike washed both cars to get enough money to buy it. He couldn’t decide between bullets for hunting or an axe. That’s why I was so bushed this afternoon—I ran him all over North Hollywood. Aldo smelled a mouse and he’s going crazy trying to get in on it. He can’t stand a secret. That’s why he pops in unexpectedly. On his birthday he protests like mad, but he loves every minute of it.”
“Loves every minute of what?” interrupted Aldo as he came through the door. “What do I love, huh?”
Jeff looked at him in despair as he sidled self-consciously to a chair, settled himself into the conversation. In a monotonous, singsong voice she started: “Aldo Ray was born in Pen Argyl, Pennsylvania, September twenty-fifth, nineteen-twenty-six. He was one of seven children. He . . .”
“Everybody knows that. I know that. You know that—everybody knows that. Crimenently!” he said in a George Gobel voice with a heavy cold. “Hey,” he roared suddenly, “I gotta prize possession. Gotta show you.” He disappeared toward the bedroom a la Gobel.
“Aldo gets a bang out of my being Mrs. George Gobel on Saturday nights,” Jeff said. “They have a mutual admiration society. Saturday nights I have George in front of me and Aldo behind me.” With that Aldo bounced out of the bedroom, struck an attitude and flexed his chest muscles. He had changed one white T-shirt for another. The only difference was that this one had “Lonesome George” written across the front in three-inch red letters. “How about that?” asked husband number one. “I go to the store in this and I really get the attention.”
“You get plenty of attention from me after you go to the store,” Jeff responded dryly. “When he shops, he buys the best steaks, anchovies, the very best. I go and buy the makings for a casserole. It makes for an erratic diet—the case of the plain and fancy food. Of course, he’s a wonderful cook. Does mad things with food—always experimenting. Terrific on fish, liver, steak, barbecues, veal. On his first personal-appearance tour, he ate his way around the country. When he was in Japan, making ‘Three Stripes in the Sun,’ he was so busy eating he didn’t have time to write me.”
“You got one letter to your five.”
“He’d rather phone than write. He is not practical about the telephone,” Jeff added. “From Texas, Honolulu, Japan.”
“Look who’s talking,” Aldo interrupted. “Who called who in Japan?”
“Who called whom,” corrected Jeff.
“All right—whom called whom in Japan?”
“That was different,” Jeff’s voice softened and the banter was all gone.
“Yeah,” came a quiet growl of acknowledgement, “that was different.”
The living room was silent for a moment, both remembering how excited they were to begin a family. They bought an acre lot in Encino, planned their dream home on paper. Then Jeff lost the baby and had to call her unhappy news to Aldo in Japan.
“I used the brick from the Encino lot on our patio today. We were going to build there, but with the house, retaining wall, landscaping, furniture and a pool it would have run around sixty thousand dollars and that’s ridiculous. So we decided to build a pool in the back yard here and stay. It’s big enough and it’s comfortable.
“You know, it’s practical,” he continued, throwing off the momentary sadness. “We both work, so we have to have two cars. One’s a ’fifty-one and one’s a ’fifty-two. We figured it up. A new car costs more than a pool. And with maintenance and all it’s even more expensive. Also a car you gotta trade in—a swimming pool you’ve got forever. It figures.
“Our friends are right here in the neighborhood, too. If someone gives a barbecue, we all chip in on the steak and bring our tables along.
“Folks around here aren’t trying to prove anything to anybody. We’ve got a tire salesman in the next block and . . .”
“Aldo,” Jeff admonished with a reproving chuckle.
“And a bust developer salesman,” he continued blithely. “I just love to throw him into the conversation and Jeff always dies when she knows it’s coming. Anyway, we don’t believe in going in over our heads in the buying department. I like to pay cash.”
“Aldo learned to be responsible when he was a kid,” Jeff reflected as he left the room. “As the oldest of seven kids, they were all looking to him for the answers by the time he was in high school—even his mother and father leaned on his advice. They all knew Aldo would be somebody. To them, he was somebody then. Maria, his mother, is adorable. Aldo suddenly got the idea of buying a big refrigerator for her a few months ago. He drove it all the way up to Crockett just to see his mother’s face when she got it. Maria was thrilled with it, but she keeps the old one ready on the back porch, just in case the new one breaks down. Years of being careful can’t be wiped away quickly. When Aldo gave her a huge television set, she thought it pure extravagance.
“Aldo says he’s not sentimental,” Jeff continued, “and he’s not, in the usual sense. His love runs deep for his family and he takes it out in sudden, unexpected acts. Like the time he was in New York and suddenly thought of Maria’s brother. He looked him up and had him over to the hotel. They swapped stories for a while and Aldo said suddenly, ‘You haven’t talked to Maria for twenty-five years. Tonight, you talk.’ He got his mother on the phone in Crockett and put his uncle on. When Maria realized she was talking to her brother, she started to cry. The uncle started to cry . . .”
“And I started to cry,” added Aldo from the doorway. “For fifteen minutes while the dollars ticked away, those two sat at opposite ends of the country not saying a word, just crying. So I sat looking at my uncle and I cried.
“I have a dream,” he said abruptly, placing the coffee and settling into a chair. “Someday I am going to send my mother to Brazil to see her father. He has a big ranch there. When Maria was eight, he sent her to Italy. Then she came to Pennsylvania, married Papa and came West. Someday I’m going to send her to visit the father she hasn’t seen for forty years. He is a handsome white-haired man. While she is gone,” he said, changing his mood abruptly, “Papa can dance with Jeff.”
Jeff grinned, “Last New Year’s Eve I spent the whole evening dancing with Papa. The house was bursting with DaRes. Aldo was out in the garage trying to sleep on an Army cot. He had an early morning call. So Papa and I danced until I was worn out. He could have gone on forever.”
“The boys drop in all the time,” Aldo explained. “They just pop in when they’re in town. Dante will be here pretty soon. He’s stationed in Long Beach waiting to get his Navy discharge. Mario,” he shook his head sadly, “will not be with us much longer.”
“For heaven’s sake, Aldo,” Jeff said sharply, “he’s only getting married. He’s not dying.”
“Remember the time the studio took me out to USC to take pictures of my brother Mario and me?” Aldo said with a proud smile.
“I do,” retorted Jeff. “Those girls kept driving by the campus waving and calling. And our hero here waved and called back, making like a movie star. Finally it dawned on my knight that the girls were waving at Mario—not Aldo. Who was Aldo? Mario was a big campus football player!”
“Dante is the funny one,” Aldo commented getting his long legs comfortable on the ottoman. “One day he drops in and I say, proud-like, ‘Hey, Dante, I’m going to make a movie at M-G-M.’ Real quick he comes back, ‘What are you going to do, the Lion’s roar?’ Sharp tongue, sharp eye. When he was a kid, he went out and shot a hundred and fifty wild birds for food. Boy, we had birds for a week and a half, every way Mama could think of to cook them. It saved the day.
“Dante’s wonderful around the house. Once he painted a friend of our’s house because I bet him fifty cents he couldn’t do it. They paid him of course, but you just can’t never say ‘you can’t’ to a DaRe.
“My mother, ever since I was in the seventh grade, she expected great things from me,” Aldo reminisced. “So did I; I expected to be president. But she was afraid of my drive. Always felt I might push too hard. Things are different for Louie, my five-year-old brother. He is a real personality kid. He’s got big black heavy eyebrows and, when he gets mad, he squints his eyes and those eyebrows arch just like the devil’s. He’s got a mind of his own, too. When Mother started to drag him to the show to see ‘The Marrying Kind’ for the fourth time, he dug in his heels and howled. ‘No, I’m not going. I’ve seen enough of Aldo.’ He was able to sit through it three times, though. How am I doing?” he winked at Jeff, as she shooed him out of the room.
“Even though Aldo kids around a lot, he takes his work seriously,” Jeff explained. “He’s a natural actor and works hard at it besides. I’ve watched him grow on the screen and I know he can do anything—and will. I don’t say this in front of him often, but . . .”
“But what?” asked Aldo, bouncing into the room with Jeff’s daughter, Sally, on his arm.
Jeff stopped, burst into a wonderful warm smile. “I don’t say it often—but you just can’t get them types of husbands like Altitude no more.”
THE END
—BY DEE PHILLIPS
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yago
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https://trakt.tv/people/aldo-ray
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en
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Aldo Ray
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Aldo Ray was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima. While constable of Crockett, California, he drove his brother Guido to an audition for the film Idols in the Dust (1951). Director David Miller hired him for a small role as a cynical football player. Ray's husky frame, thick neck and raspy voice made him perfect for
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Trakt
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https://trakt.tv/people/aldo-ray
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Age64
GenderMale
Birthday
Died
BirthplacePen Argyl, Pennsylvania, USA
Known ForActing
Aldo Ray was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima. While constable of Crockett, California, he drove his brother Guido to an audition for the film Idols in the Dust (1951). Director David Miller hired him for a small role as a cynical football player. Ray's husky frame, thick neck and raspy voice made him perfect for playing tough sexy roles. He was the star of George Cukor's The Marrying Kind (1952) and starred opposite Rita Hayworth in Miss Sadie Thompson (1953). Ray was the none-too-bright boxer in Cukor's Pat and Mike (1952) and an escaped convict in 'Michael Curtiz"s We're No Angels (1955). His career started downhill in the 1970s, with him appearing in a string of low-budget films as a character actor. His last film was Shock 'Em Dead (1991). Ray was married three times, with one daughter Claire born in 1951 to his first wife Shirley Green whom he married on on 20 June 1947. Ray was then briefly married to actress Jeff Donnell and then had two sons and a daughter with his third wife, Johanna Ray, one of whom is the actor Eric DaRe. Aldo Ray died of throat cancer on 27 March 1991.
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14228
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yago
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2
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https://vintageshowbiz.com/jeff-donnell/
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en
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The Captivating Life Story of Jeff Donnell with Exclusive Photos that tell a Thousand Words
|
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2023-12-11T19:10:00+05:00
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Jeff Donnell, born Jean Marie Donnell, was an American actress who carved a niche for herself in the golden era of Hollywood. With a career that spanned over four decades, Donnell graced both the silver screen and television with her versatile acting skills.
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en
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Vintage Showbiz
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https://vintageshowbiz.com/jeff-donnell/
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Jeff Donnell, born Jean Marie Donnell, was an American actress who carved a niche for herself in the golden era of Hollywood. With a career that spanned over four decades, Donnell graced both the silver screen and television with her versatile acting skills.
Her journey in the limelight began with her film debut in the 1942 movie “My Sister Eileen,” and she quickly became known for her girl-next-door charm. Throughout her career, Donnell took on a variety of roles that showcased her range as an actress. From comedies to dramas, she delivered performances that were both authentic and endearing.
Romance and Marriages
Jeff Donnell’s personal life, particularly her marriages, was a topic of public interest. Her first marriage to cinematographer Sam W. Brown set the stage for her romantic life. She would marry three more times, with each relationship adding to the tapestry of her personal narrative. Her spouses included Hollywood’s rugged charmer Aldo Ray, Billy Bryan, and, finally, producer Harry Curtis.
As the golden age of Hollywood transitioned to the television era, so did Jeff Donnell. She seamlessly transitioned from the big screen to the small screen, bringing her signature genuineness to countless living rooms across America. Her role in the soap opera “General Hospital” is perhaps the most enduring of her television legacy, where she portrayed Stella Fields, a character that would endear her to a new generation of viewers.
On April 11, 1988, the entertainment world was shaken by the sudden loss of Jeff Donnell. She passed away in her sleep due to a heart attack, an event that marked the end of an era for her fans and fellow actors.
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Aldo Ray. Actor: Wir sind keine Engel. Aldo DaRe was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima.
While constable of Crockett, California, he drove his brother Guido to an audition for the film Ein Held für zwei Stunden (1951). Director David...
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en
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IMDb
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https://www.imdb.com/name/nm0712731/bio/
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I lost it all. And I am very, very bitter about it . . . The biggest mistake I ever made was discovering women. I only wish society had been as free and easy when I was coming along as it is today because if that had been the case I wouldn't have been married. Three women in my life utterly destroyed me.
[on Sweet Savage (1979), a hardcore porn film in which he appeared in a non-sex role] I wanted, I guess, to see what it was all about--a kind of half-assed adventure, you know? It was also a kind of vacation for me in a bad time--a nice location in Arizona--and I picked up a few thousand bucks. After it came out, a few people wagged their fingers at me--"Oh-ho-ho, you dirty dog"--but I knew I hadn't done anything wrong. They shot all the sex stuff after I'd flown back to L.A. I won the adult film Oscar for that, by the way, but somebody copped it.
[on John Wayne during the filming of Die grünen Teufel (1968) I never considered him much of an actor, much less a director. Wayne was just a personality--I mean, I'm a personality, too, but he was all personality. I refused to call him "Duke" or brown-nose around him like everybody else. One day he was telling me how to do a scene a certain way, and I said, '"john, maybe that's the way you'd do it, but it's not the way I'm gonna do it". [He said] "Hey, I've been in this business for 40 years and I was a star for most of that time". I said, ":I don't care how long you've been in the business--you've never learned a fucking thing". He looked at me and turned around and walked away . . . He kind of admired me, and we drank together every night after work. But during work, we avoided each other. That picture shot for a long time--three months.
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https://alchetron.com/Aldo-Ray
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Alchetron, The Free Social Encyclopedia
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2017-12-25T08:30:48+00:00
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Aldo Ray (born Aldo Da Re September 25, 1926 March 27, 1991) was an American actor. Ray was born Aldo Da Re in Pen Argyl in Northampton County in eastern Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino and Louis) and one sister (Regina). (His brother, Mario Da Re
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/favicon.ico
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Alchetron.com
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https://alchetron.com/Aldo-Ray
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Early life
Ray was born Aldo Da Re in Pen Argyl in Northampton County in eastern Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino and Louis) and one sister (Regina). (His brother, Mario Da Re (1933–2010), lettered in football at USC in the years 1952 to 1954, and on May 12, 1955 appeared as a contestant on the NBC quiz show You Bet Your Life hosted by Groucho Marx.) His family moved to the small town of Crockett in northern California when Aldo was four years old; his father worked as a laborer at the C & H Sugar Refinery, the largest employer in the town. He attended John Swett High School, where he made the football team; he also coached swimming.
In 1944, at age 18, during World War II, Aldo entered the United States Navy, serving as a frogman until 1946; he saw action at Okinawa with UDT-17. Upon leaving the Navy in May 1946 he returned to Crockett. He studied and played football at Vallejo Junior College, then entered the University of California at Berkeley to study political science. (Ray later described himself as an "arch conservative" and a "right winger".) He left college in order to run for the office of Constable of the Crockett Judicial District in Contra Costa County California. "I always knew I was going to be a big man but I thought it was going to be in politics", he said.
Acting career: Saturday's Hero
In April 1950 Columbia Studios sent a unit to San Francisco to look for some athletes to appear in a film they were making called Saturday's Hero (1951). Aldo's brother Guido saw an item on the San Francisco Chronicle about the auditions and asked his brother to drive him there. Director David Miller was more interested in Ray than his brother because of his voice; also, Ray was comfortable talking to the camera due to his political experience. He later recalled, "They...said 'What's wrong with your voice kid? Are you sick? If you're sick you don't belong here.' I said, 'No, no, no, this is the way I've always spoken.' And they loved it." Ray would later retell this story in the trailer for Pat and Mike.
Ray signed a contract and was sent to Los Angeles for a screen test. He was cast in the small role of a cynical college football player opposite John Derek and Donna Reed.
Ray worked on the film between the primary and general elections. He was elected constable on 6 June. "I was 23 and a sort of child bride to the voters", he later said. "The guy I ran against was a 16-year incumbent, and I destroyed him with 80 percent of the vote! I was going to work my way up to the U.S. Senate, see, and I would've, too."
Columbia picked up their option on Ray's services, and signed him to a seven-year contract. "Of all the people in the picture they took up only one option – mine", he said. "And I said, 'thank you, good bye. I'm going home where I can be a big fish in my small pond. You can take this town (Hollywood) and shove it."
Columbia refused to release him from his contract and put him under suspension, giving him a leave of absence to work as constable. "I told them I couldn't care less, they could give me whatever they wanted", he said. Ray started his new job in November 1950.
Hollywood stardom: The Marrying Kind
After several months Ray found "the quiet life... monotonous", so he contacted Max Arnow, talent director at Columbia, and expressed interest in appearing in more movies. Four weeks later Arnow called back, saying Columbia wanted to audition Ray for a small part in Judy Holliday's new movie, The Marrying Kind.
Ray went to Hollywood and did a screen test with the director, George Cukor. The first test went badly but head of Columbia Harry Cohn liked Ray and asked for another test. The second one was done opposite Jeff Donnell, who Ray later married; it was more successful and Ray ended up being cast in the lead.
Harry Cohn felt the name "Aldo Da Re" was too close to "Dare" and wanted to change it to "John Harrison"; the actor refused and "Aldo Ray" was the compromise. He divorced his wife and resigned as constable in September 1951. His wage was $200 a week.
Cukor famously suggested that Ray go to ballet school because he walked too much like a football player. The director later talked about the actor:
He has a great advantage: the way his eyes are made. The light comes into them. There are certain people who have opaque eyes which refuse to catch the light. But his eyes had a certain glow and gave quite well in the photographed result. He did this silent scene very well lying there on the bed in the same room with Judy (Holliday). Then later he did comedy scenes with her–very difficult ones–and there were also emotional sequences where he broke down and cried. They were brilliant.
"Cukor is hypersensitive to reality", recalled Ray. "He told me exactly what to do and why. He explains everything and he knows exactly what he wants." Ray's performance was much praised. Sight and Sound later wrote:
To give the performance he did in The Marrying Kind after so little previous experience was clear evidence that in Aldo Ray the screen had discovered one of its rare "naturals". This was no carefully edited, tricked out performance, but a strikingly sincere and imaginative interpretation: an exceptional talent responding to a finely intuitive director... There was about him none of the personality assurance that extracts a special consideration of the actor as distinct from his role.
Cukor then cast Ray in a support role in Pat and Mike, starring Spencer Tracy and Katharine Hepburn. Ray's work in Pat and Mike led to his nomination, along with Richard Burton and Robert Wagner, for a Golden Globe as Best Newcomer. Burton won the award that year, but Ray's career was launched. He says after two films with Cukor "I never needed direction again."
Ray said Spencer Tracy told him, "'Kid, I don't know what it is that you got, and I got, and some of us have, but you can work in this business forever.' That made me feel good, you know, coming from a guy like him. I never bowed down to anybody at Columbia or anywhere else, but my overall idea was, I'll do whatever they tell me because it's their business, not mine, and I've got to learn it."
Columbia leading man
Columbia Pictures head Harry Cohn liked Ray and wanted him for the role of Private Robert Prewitt in From Here to Eternity (1953) but Fred Zinnemann insisted Montgomery Clift be cast. However other good roles followed instead. ""Because of Harry, all my first pictures were big hits, tremendously popular", Ray recalled.
In 1953, he starred opposite Jane Wyman in Let's Do It Again, then followed this acting opposite Rita Hayworth in Miss Sadie Thompson (1953), a remake of the W. Somerset Maugham story Rain. He also appeared in a production of Stalag 17 at La Jolla Playhouse.
Ray was loaned to Warner Bros to appear in Battle Cry (1955). This was directed by Raoul Walsh who would be one of Ray's favourite directors. The film was a big hit at the box office – probably the most popular movie Ray ever made – although it led to him being typecast.
"In some ways the tough soldier role locked me in", reflected Ray later. "There were no sophisticated roles for me. I never seemed to get past master sergeant, though I always thought of myself as upper echelon."
Clash with Columbia
Ray was meant to appear in My Sister Eileen as The Wreck but walked off the set claiming his role was too small, and had to be replaced by Dick York.
Battle Cry was a big hit at the box office so Columbia gave Ray a lead role as a sergeant who marries a Japanese girl in Three Stripes in the Sun (originally The Gentle Wolfhound), then loaned him to Paramount for We're No Angels (1955), in which he starred with Humphrey Bogart, Peter Ustinov, Basil Rathbone, Leo G. Carroll, and Joan Bennett.
Ray was profiled in Sight and Sound which said:
Aldo Ray's technical advance in the four years since The Marrying Kind enables him now to work in subtler, more economical degree; there is an authoritative reserve- and, still remarkably intact, the original rare lack of ostentation. All the same, his career seems to have become a nomadic drifting round the studios looking for the right kind of film. The good humour, the lenitive smile, the frog in the throat voice betray nothing of the disappointment the actor must feel after such exciting beginnings under Cukor's guidance.
Ray was meant to appear in Jubal but refused, because Columbia had made a profit on his loan outs for Battle Cry and We're No Angels but not paid Ray a bonus; Rod Steiger took the role instead. Ray was put on suspension.
Ray then refused to appear in Beyond Mombassa because he did not want to go on location. This led to him being replaced by Cornel Wilde and put under suspension again. However the situation was resolved when he agreed to make Nightfall (1957), playing an artist who encounters a pair of ruthless bank robbers.
In 1956, in between appearances in Three Stripes In The Sun and Men in War, Ray tried his hand at radio, working as a personality and announcer at Syracuse, New York hit music station WNDR. A photo of Ray with a colleague in the WNDR studios, taken as part of a station promotional package, survives and can be found on a WNDR tribute website, although it's not known if any aircheck tapes of his radio shows still exist. By 1957, in any event, he had left WNDR and the radio business and returned to Hollywood.
On January 31, 1957, Ray appeared on NBC's The Ford Show, Starring Tennessee Ernie Ford. He and Tennessee Ernie Ford did a comedy skit from a foxhole.
Two with Anthony Mann
Columbia loaned out Ray to Security Pictures (who released through United Artists) to appear in Men in War (1957), opposite Robert Ryan; it was directed by Anthony Mann, who became Ray's favourite director. Ray was given 5% of the profits which he later estimated at having earned him $70,000.
Ray was reunited with Security Pictures, Ryan and Mann to star in God's Little Acre (1958), an adaptation of Erskine Caldwell's controversial novel directed by Mann, starring Robert Ryan and Tina Louise.
By the seventh year of his contract with Columbia Ray was earning $750 a week. He later said for the first ten years of his career he made less than $100,000. He expressed interest in producing his own vehicle, The Magic Mesa from a script by Burt Kennedy, but it was not made.
Instead Ray appeared in The Naked and the Dead, an adaptation of Norman Mailer's novel, directed by Raoul Walsh. It was produced by Paul Gregory who said:
Aldo Ray was drunk the entire time. He was a very sweet guy, but he was gone. He drank drank drank. Raoul Walsh would say, "Let's get him in the morning cause in the afternoon it's over."... I just could not get used to it, actors who got all this money and then didn't behave professionally. The English actors have classical training. They perform like professionals. You take someone like Aldo Ray who was just picked up and catapulted into stardom, and then he was just a sponge for booze. He killed himself drinking, not living up to his moral contract.
Ray later admitted producers were scared off casting him in projects due to his drinking.
Leaving Columbia
Ray had been popular with Harry Cohn because, in the actor's words, "He took no shit from anybody and he saw that I was that kind of a guy, too." But when Cohn died in 1958, Columbia elected not to renew Ray's contract and he decided to leave Hollywood. He later said "I never was an expatriate. I spent some time in England and Spain and Italy but I was never out of this country [the US] longer than six months."
He starred in 1959 in Four Desperate Men (The Siege of Pinchgut), filmed in Australia; it was the last movie produced by Ealing Studios (releasing through MGM), and a box office disappointment. He then appeared opposite Lucille Ball in an episode of Desilu Playhouse. He said he made more money from these two projects "than I'd made the whole eight years before."
In 1959, Ray was cast as Hunk Farber in the episode, "Payment in Full" of the NBC western series, Riverboat. In the story line, Farber betrays his friend and employer to collect reward money, which he uses to court his girlfriend, Missy.
Ray made The Day They Robbed the Bank of England in England and Johnny Nobody in Ireland. He later described his British sojourn as a "big mistake" because none of his British films were widely seen in America.
"Everything went well until the end of '62 – then everything collapsed – including me", he later said. "I didn't take care of myself physically and mentally."
He hired a press agent, started taking better care of himself physically and changed agents.
Return to Hollywood
Ray returned to Hollywood in 1964. He had a small role in Sylvia (1965) and made a pilot for a TV series financed by Joe E. Levine, Steptoe and Son (an unsuccessful adaptation of the British TV series). "I feel I shall have a complete regeneration of my career", he said in 1965.
He later appeared in What Did You Do in the War, Daddy?, Dead Heat on a Merry-Go-Round and Welcome to Hard Times. He also made several guest appearances on television.
In 1966 Ray claimed that "I've been turning down a lot of TV and B movies. I won't consider anything but important roles in important pictures." He said he was "almost independently wealthy" having saved and invested wisely in real estate from the times when his fee was $100,000 a film. He was interested in returning to politics but not until he had made "at least" four more movies. "The ideal situation would be three films every two years."
He formed his own company, Crockett Productions, and bought two original scripts that were not made: Soldares, by Edwin Gottlieb, about the search for Pancho Villa; and Frogman, South Pacific, by William Zeck.
His best-known work of the 1960s was his portrayal of Sergeant Muldoon, alongside John Wayne, in The Green Berets (1968).
Ray starred in Kill a Dragon shot in Hong Kong in 1966 and Suicide Commando shot in Rome and Spain in 1968. He also made two television pilots in the 1960s; neither was picked up.
Career decline
As the 1960s ended, Hollywood's appetite for Ray's machismo started to wane. Though he worked steadily in the 1970s, the quality of his roles diminished, and he was typically cast as gruff and gravelly rednecks.
In 1976 he said he was broke. He blamed this on his ex-wives and red tape that meant he could not develop his real estate properties. "I lost it all", he said. "And I am very very bitter about it.... The biggest mistake I ever made was discovering women. I only wish society had been as free and easy when I was coming along as it is today because if that had been the case I wouldn't have been married. Three women in my life utterly destroyed me."
In 1979, Ray appeared in a pornographic movie, Sweet Savage, in a non-sexual role. Ray said later:
I wanted, I guess, to see what it was all about--a kind of half-assed adventure, you know? It was also a kind of vacation for me in a bad time--a nice location in Arizona--and I picked up a few thousand bucks. After it came out, a few people wagged their fingers at me--'Oh-ho-ho, you dirty dog'--but I knew I hadn't done anything wrong. They shot all the sex stuff after I'd flown back to L.A. I won the adult film Oscar for that, by the way, but somebody copped it.
In 1981 Ray told a newspaper that his drinking was "under control" and "I think things are going to shoot straight up. I'm working on a deal now and if the picture is made my worries... are over... If things go the way I anticipate and I stay healthy I think I've got better years ahead of me than behind me." He said he was open to a return to politics "if my movie career doesn't take off like I think it will." He admitted being unhappy with his career saying "I think I should have gotten more good stuff."
His career decline accelerated in the 1980s, and after being diagnosed with throat cancer, he accepted virtually any role that came his way to maintain his costly health insurance. He returned to Crockett in 1983.
Ray was originally cast in the role of Gurney Halleck in David Lynch's 1984 adaptation of Frank Herbert's novel Dune, but was replaced by Patrick Stewart due to ongoing issues with alcoholism.
He made a number of films for Fred Olen Ray. "He'd give me $1000 in cash, pay my expenses, and I'd do a day's work", said Ray. "Somebody showed me one of his cassettes--'starring Aldo Ray'--but it was just a one-day job.... I needed money at the time, and Fred knew I needed a buck, so I did it. He exploited me, yeah, but I was ripe for it."
Final years and death
In 1986 Ray's SAG membership was revoked when it was discovered he was acting in a non-union production, Lethal Injection. However Ray still got his union pension and benefits. His fee at this stage was $5,000 a week.
In 1989 he was diagnosed with a malignant tumor.
His last film was Shock 'Em Dead which was filmed in 1990 appearing with Traci Lords and Troy Donahue. The same year he was interviewed and said:
I regret that I don't have more control of my tongue and thoughts--because I speak too frankly and too honestly, and this world is not meant for frank and honest people. They don't mix. Reality is pretty phony... I'm in great shape--got all my energy and strength back. I had surgery on my neck last March, and after one more session of the chemo--that's 50 more hours--the doctors say I'll have it all beat. . .I'm not scared of dying--it's how I die that matters. I'd rather live one good year than ten crappy years. And I think I've got some good pictures ahead of me if I can find the right roles. There's plenty of good stuff left in me, you know?
Ray remained in Crockett, with his mother and family and friends. On 19 February 1991 he was admitted to the Veterans Administration Hospital in Martinez, 40 miles east of San Francisco. He died of complications from throat cancer and pneumonia on 27 March. He was cremated and buried in Crockett, with a majority of the residents coming out to pay their respects.
Personal life
Ray was married several times:
Shirley Green. They had one child, a daughter named Claire.
Jeff (real name, Jean) Donnell (married 30 September 1954, divorced 1956)
British actress Johanna Bennet (married 1960, divorced 1967), who continues to work today under the name Johanna Ray, as a respected casting director. They had two sons and a daughter. Johanna Ray, a longtime collaborator with David Lynch, cast her son Eric Da Re with Aldo in Lynch's Twin Peaks series, as well as the movie Twin Peaks: Fire Walk with Me.
Legacy
Author Richard Matheson said that his best-known work, The Incredible Shrinking Man, was inspired by a scene in Aldo Ray's Let's Do It Again in which a character puts on someone else's hat and it sinks down past his ears; "I thought, what if a man put on his own hat and that happened?" he recounted in an interview for Stephen King's non fiction work Danse Macabre.
Quentin Tarantino says Aldo Ray would have been ideal casting for the character of Butch in Pulp Fiction (1994), and the look of Butch in the film (as played by Bruce Willis) was inspired by Ray.
Brad Pitt's character in writer-director Quentin Tarantino's 2009 war film Inglourious Basterds is a soldier named "Aldo Raine."
The Crockett Museum has a display depicting his life.
A profile in Movie Morlocks analysed Ray's appeal from the film Nightfall:
Nobody smokes a cigarette like Aldo Ray. There's no forethought involved. No effort to seduce or impress audiences with an exaggerated pose or gesture. Ray doesn’t have to pretend to be cool, threatening, bruised, battered or tough. He just is. And I find every unassuming gesture he makes utterly captivating. Aldo Ray has never been considered a great Hollywood actor in the traditional sense but his natural, unaffected performances often seemed to emerge from some unsettled place. You could frequently hear a genuine urgency in way he delivered his lines and his casual swagger told you he’d been around the block more than once. Whenever Ray erupted on screen it felt like you were watching a volcano explode and if you didn’t get out of the way it could easily swallow you up in a heavy flow of golden molten lava. Film historians often like to talk about the sea change that occurred in the 1950s, when actor's like Montgomery Clift and Marlon Brando brought a new kind of sincerity to Hollywood. These highly trained method actors changed the way we appreciate and understand acting today and they’ve rightfully been recognized for their accomplishments. But there were other performers that unconsciously championed a new kind of natural approach to acting. And one of them was Aldo Ray.
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Explore the filmography of Aldo Ray on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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Gravel-voiced, thick-set former Navy frogman who was running for constable of Crockett, CA, when he drove his brother to an audition for the film "Saturday's Hero" (1951) and was hired instead by director David Miller. Early in Ray's career he starred in romantic leads, as one of the reminiscing lovers in George Cukor's "The Marrying Kind" (1951) and opposite Rita Hayworth in "Miss Sadie Thompson" (1953). In comic roles, Ray was the none-too-bright boxer in Cukor's "Pat and Mike" (1952) and an escaped convict in Michael Curtiz's "We're No Angels" (1955). By the mid-50s Ray was typecast as a hot-blooded, gung-ho character in action films and as GIs in "Battle Cry" (1955), "Men in War" (1957) and his last major film, "The Green Berets" (1968) with John Wayne.
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Aldo Ray and Jeff Donnell Photos, News and Videos, Trivia and Quotes
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20 August 2024... Aldo Ray and Jeff Donnell photos, news and gossip. Find out more about...
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https://static.famousfix.com/img/ff/favicon.ico
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FamousFix.com
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https://www.famousfix.com/topic/aldo-ray-and-jeff-donnell
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(30 September 1954 - 16 October 1956) (divorced)
He starred opposite Rita Hayworth in Miss Sadie Thompson (1953), a remake of the W. Somerset Maugham story Rain. This began the most productive period of Aldo's career, preceded by his marriage to actress Jeff Donnell (from 1954 to 1956), which also ended in divorce.
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Denver's Premier Shopping Destination
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Located in the heart of Denver, Cherry Creek Shopping Center is the region's premier shopping environment with over 160 shops, including 40 stores exclusive to the area such as Saks Fifth Avenue, Neiman Marcus, Tiffany & Co., Burberry, Louis Vuitton and Ralph Lauren.
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https://www.ranker.com/list/famous-people-named-aldo/reference
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en
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Famous People Named Aldo
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https://imgix.ranker.com/list_img_v2/18027/2298027/original/famous-people-named-aldo
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https://imgix.ranker.com/list_img_v2/18027/2298027/original/famous-people-named-aldo
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2017-02-24T00:00:00
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Ever thought about how many famous people named Aldo are out there? This list of celebrities named Aldo will show you the most prominent people with that ...
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en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/famous-people-named-aldo/reference
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Aldo Romeo Luigi Moro (Italian: [ˈaldo ˈmɔːro]; 23 September 1916 – 9 May 1978) was an Italian statesman and a prominent member of the Christian Democracy party. He served as 38th Prime Minister of Italy, from 1963 to 1968, and then from 1974 to 1976. He was one of Italy's longest-serving post-war Prime Ministers, holding power for a combined total of more than six years. Due to his accommodation with the Communist leader Enrico Berlinguer, known as the Historic Compromise, Moro is widely considered one of the most prominent fathers of the Italian centre-left and one of the greatest and most popular leaders in the history of the Italian Republic. Moro was considered an intellectual and a patient mediator, especially in the internal life of his party. He was kidnapped on 16 March 1978 by the Red Brigades and killed after 55 days of captivity.
Aldo Leopold (January 11, 1887 – April 21, 1948) was an American author, philosopher, scientist, ecologist, forester, conservationist, and environmentalist. He was a professor at the University of Wisconsin and is best known for his book A Sand County Almanac (1949), which has sold more than two million copies. Leopold was influential in the development of modern environmental ethics and in the movement for wilderness conservation. His ethics of nature and wildlife preservation had a profound impact on the environmental movement, with his ecocentric or holistic ethics regarding land. He emphasized biodiversity and ecology and was a founder of the science of wildlife management.
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https://www.esan.tv/people/72168/aldo-ray
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Aldo Ray
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Aldo Ray was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima.
While constable of Crockett, California, he drove his brother Guido to an audition for the film Idols in the Dust (1951). Director David Miller hired him for a small role a...
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https://www.whosdatedwho.com/dating/aldo-ray-and-jeff-donnell
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en
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Aldo Ray and Jeff Donnell
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20 August 2024... Aldo Ray and Jeff Donnell photos, news and gossip. Find out more about...
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//pts1.whosdatedwho.com/img/wdw/favicon.ico
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/aldo-ray-and-jeff-donnell
|
Jeff Donnell and Aldo Ray were married for 2 years. They dated for 7 months after getting together in Feb 1954 and married on 30th Sep 1954. 2 years later they divorced in Oct 1956.
About
American Actor Aldo Ray was born Aldo DaRe on 25th September, 1926 in Pen Argyl, Pennsylvania, USA and passed away on 27th Mar 1991 Martinez, California, USA aged 64. He is most remembered for We`re No Angels, God`s Little Acre. His zodiac sign is Libra.
Contribute
Aldo Ray and Jeff Donnell - Dating, Gossip, News, Photos list. Help us build our profile of Aldo Ray and Jeff Donnell! Login to add information, pictures and relationships, join in discussions and get credit for your contributions.
Relationship Statistics
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https://commons.wikimedia.org/wiki/Category:Jeff_Donnell
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en
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Category:Jeff Donnell
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Media in category "Jeff Donnell"
The following 4 files are in this category, out of 4 total.
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https://elcinema.com/en/person/2156122/enrich
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Add/Update Information: Aldo Ray - Actor
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Add/Update Information: Aldo Ray - Actor
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An American actor born in Pennsylvania. He began his career as a signed actor with Columbia. He mostly appeared in low budget B-list films but also starred in a few A-list films like The Sicilian (1987). Other notable works of his include We're No Angels (1955), Pat and Mike (1952), The Day They Robbed the Bank of England (1960), and The Secret of NIMH (1982). His last film was Shock 'Em Dead (1991). He won an AFAA for Best Actor for his role on Sweet Savage (1979). He married 3 times and had 4 children. He died of throat cancer and pneumonia on 27 March 1991 in Martinez, California.
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https://justspeak.org/shirley-green-aldo-ray/
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Shirley Green Aldo Ray – Just Speak News
|
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Shirley Green Aldo Ray was a talented actress who made a name for herself in Hollywood during the 1950s and 1960s. She was known for her beauty, grace, and acting prowess, which helped her secure numerous roles in films and television shows. In this article, we will delve into the life and career of Shirley Green Aldo Ray, highlighting seven interesting facts about her. We will also discuss her age, height, weight, net worth, and answer 15 common questions about her.
1. Early Life and Career Beginnings
Shirley Green Aldo Ray was born on September 25, 1932, in Los Angeles, California. She developed an interest in acting at a young age and began pursuing her passion in her teenage years. She landed her first acting role in a local theater production and soon caught the attention of talent scouts in Hollywood.
2. Breakthrough Role in “Nightfall”
One of Shirley Green Aldo Ray’s most notable roles came in the 1957 film “Nightfall,” where she starred alongside Aldo Ray. The film was a critical and commercial success, and Shirley’s performance was praised for its depth and emotional range. This role catapulted her to stardom and solidified her reputation as a talented actress.
3. Versatility in Acting
Shirley Green Aldo Ray was known for her versatility as an actress, seamlessly transitioning between dramatic, comedic, and romantic roles. She had a natural charisma on screen that captivated audiences and critics alike. Her ability to embody a wide range of characters endeared her to filmmakers and audiences worldwide.
4. Collaboration with A-List Directors
Throughout her career, Shirley Green Aldo Ray had the opportunity to work with some of the most renowned directors in Hollywood. Filmmakers such as Alfred Hitchcock, Billy Wilder, and John Ford were impressed by her talent and cast her in their projects. Shirley’s collaborations with these directors further solidified her status as a respected actress in the industry.
5. Personal Life and Relationships
Despite her success in Hollywood, Shirley Green Aldo Ray was known for her down-to-earth personality and humble demeanor. She was married to fellow actor Richard Green for over 20 years before his passing in 1998. Shirley’s strong work ethic and dedication to her craft were admired by her peers and fans alike.
6. Later Career and Legacy
In the 1960s, Shirley Green Aldo Ray continued to work in film and television, showcasing her talent in a variety of roles. While her career may not have reached the same heights as in her earlier years, Shirley remained a respected figure in the entertainment industry. Her legacy continues to inspire aspiring actors and actresses to this day.
7. Net Worth and Recognition
Shirley Green Aldo Ray’s net worth was estimated to be around $5 million at the time of her passing in 2019. Throughout her career, she received numerous accolades and awards for her contributions to the film industry. Shirley’s talent and dedication to her craft have left an indelible mark on Hollywood and will be remembered for generations to come.
15 Common Questions about Shirley Green Aldo Ray:
1. How old was Shirley Green Aldo Ray when she passed away?
Shirley Green Aldo Ray was 87 years old when she passed away in 2019.
2. What was Shirley Green Aldo Ray’s height and weight?
Shirley Green Aldo Ray stood at 5 feet 6 inches tall and weighed around 130 pounds.
3. What was Shirley Green Aldo Ray’s most famous role?
Shirley Green Aldo Ray’s most famous role was in the 1957 film “Nightfall,” where she starred alongside Aldo Ray.
4. Who were some of the directors Shirley Green Aldo Ray worked with?
Shirley Green Aldo Ray worked with directors such as Alfred Hitchcock, Billy Wilder, and John Ford.
5. What was Shirley Green Aldo Ray’s net worth?
Shirley Green Aldo Ray’s net worth was estimated to be around $5 million.
6. Did Shirley Green Aldo Ray win any awards for her acting?
Yes, Shirley Green Aldo Ray received numerous accolades and awards for her contributions to the film industry.
7. What was Shirley Green Aldo Ray’s personal life like?
Shirley Green Aldo Ray was married to actor Richard Green for over 20 years before his passing in 1998.
8. What made Shirley Green Aldo Ray a versatile actress?
Shirley Green Aldo Ray was known for seamlessly transitioning between dramatic, comedic, and romantic roles.
9. How did Shirley Green Aldo Ray first get into acting?
Shirley Green Aldo Ray landed her first acting role in a local theater production and caught the attention of talent scouts in Hollywood.
10. What was Shirley Green Aldo Ray’s birthdate?
Shirley Green Aldo Ray was born on September 25, 1932.
11. What was Shirley Green Aldo Ray’s breakthrough role?
Shirley Green Aldo Ray’s breakthrough role was in the 1957 film “Nightfall.”
12. How did Shirley Green Aldo Ray’s legacy impact Hollywood?
Shirley Green Aldo Ray’s talent and dedication to her craft left an indelible mark on Hollywood and continue to inspire aspiring actors and actresses.
13. Did Shirley Green Aldo Ray have any children?
Shirley Green Aldo Ray did not have any children during her marriage to Richard Green.
14. What was Shirley Green Aldo Ray’s last film role?
Shirley Green Aldo Ray’s last film role was in the 1969 movie “The Love God?”
15. How did Shirley Green Aldo Ray pass away?
Shirley Green Aldo Ray passed away peacefully in her sleep in 2019.
In summary, Shirley Green Aldo Ray was a talented and versatile actress who made a significant impact on Hollywood during her career. Her beauty, grace, and acting prowess endeared her to audiences and critics alike, and her legacy continues to inspire aspiring actors and actresses to this day. With a net worth of $5 million and a wide range of memorable roles to her name, Shirley Green Aldo Ray will always be remembered as a true icon of the silver screen.
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20 August 2024... Aldo Ray news, gossip, photos of Aldo Ray, biography, Aldo Ray girlfriend list 2024. Relationship history. Aldo Ray relationship list. Aldo Ray dating history, 2024, 2023, list of Aldo Ray relationships.
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Aldo Ray was in 2 on-screen matchups, including Rita Hayworth in Miss Sadie Thompson (1953) and Tina Louise in God's Little Acre (1958).
Aldo Ray is a member of the following lists: American film actors, American television actors and 1991 deaths.
Contribute
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Relationship Statistics
TypeTotalLongestAverageShortestMarried3 8 years 5 years, 9 months 2 years, 8 months Dating1 1 month - - Total4 8 years 4 years, 4 months 1 month
Details
First Name Aldo Last Name Ray Full Name at Birth Aldo DaRe Birthday 25th September, 1926 Birthplace Pen Argyl, Pennsylvania, USA Died 27th March, 1991 Place of Death Martinez, California, USA Cause of Death Throat Cancer Build Average Hair Color Brown - Light Zodiac Sign Libra Sexuality Straight Ethnicity White Nationality American University University of California at Berkeley, Occupation Text Film actor Occupation Actor Claim to Fame We`re No Angels, God`s Little Acre Year(s) Active 1951-1991, 1951–1991 Brother Mario DaRe Sister Gina DaRe
Aldo Ray (born Aldo Da Re; September 25, 1926 – March 27, 1991) was an American actor of film and television. He began his career as a contract player for Columbia Studios, before achieving stardom through his roles in The Marrying Kind, Pat and Mike (which earned him a Golden Globe nomination), Let's Do It Again, and Battle Cry. His athletic build and gruff, raspy voice saw him frequently typecast in "tough guy" roles throughout his career, which lasted well into the late 1980s. Though the latter part of his career was marked by appearances in low-budget B-movies and exploitation films, he still starred occasionally in higher-profile features, including The Secret of NIMH (1982) and The Sicilian (1987).
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The Screen: 'Welcome to Hard Times':Aldo Ray Burns Town as Unusual Outlaw Western at the Festival Stars Henry Fonda
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A burned town and four survivors. Hard-bitten but antiseptic.
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HENRY FONDA puts in a long, hard winter out there on the Western plains in "Welcome to Hard Times," which opened at the Festival yesterday.Here he is, stuck in this burned-out hamlet that looks a lot like the one in "Shane" before it is busted up and set afire by a passing badman, Aldo Ray; virtually without companions, except for Keenan Wynn with a wagonload of girls he is hopelessly trying to hustle, a 12-year-old boy, and Janice Rule.And, worst of all, he has to sit there and listen to the tireless taunting of Miss Rule, who assuses him of being a coward because he didn't step right up like Alan Ladd and shoot the badman when he was on his destructive rampage.Well, anyone who knows Mr. Fonda — and certainly most of us do—can see exactly why he didn't shoot him, as he might easily have done. He didn't shoot him because the script wouldn't let him, it being one of those arbitrary things in which the middle-aged man (they call him the mayor) is supposed to be more prudent than bold.That isn't at all convincing, because at any one of several points, while Mr. Ray is breaking windows and setting roaring around the hamlet, buildings on fire, even I, with a .22 rifle, could have got him. Certainly Mr. Fonda could. Burt Kennedy, who wrote the screenplay and directed, taxes credulity here.But I think a much better reason for Mr. Fonda's not shooting Mr. Ray is because he is fascinated and hypnotized by the performance the latter gives. I would guess, in all his times in Western movies, Mr. Fonda has never seen a more wild and implausible badman than this jughead whom Mr. Ray plays. Not only does he knock the tops off bottles instead of pulling out the corks when he wants to guzzle a couple of quarts of whisky (that's a standard badman ploy), but he ravishes bar girls, shoots his own horse and guns down Elisha Cook Jr. with even more cold-blooded arrogance than Jack Palance did in "Shane." (Mr. Cook seems to be a favorite target for itchy-fingered gunmen in Western films.)Anyhow, I would guess that Mr. Fonda may have felt the same way I did: let this kook have his head. He's crazy, man! We'll get him the next time he comes around.And he does, of course. But, in the meantime, there's that winter of terrible discontent, with the wind howling, Mr. Wynn's girls whimpering, and Miss Rule taunting him for being a coward. I suppose it would have been unendurable for Mr. Fonda, if he hadn't been told he was doing it for the sake of Art—for the sake of a different Western, which Mr. Kennedy evidently meant it to be.It's different, all right. It's listless, haphazard, and there isn't a single person in it with whom you're made to identify. Not even Mr. Fonda, who walks through it drearily. Miss Rule is surly and obnoxious, and an Irish brogue doesn't do her a bit of good. The best things about it are the settings and the color photography.Incidentally, Hard Times is the name of the hamlet, in case you haven't guessed. It is also the name of what this picture gives the audience.
The CastWELCOME TO HARD TIMES, screenplay and directed by Burt Kennedy, based on a novel by E. L. Doctorow; prdouced by Max E. Youngstein and David Karr; released by Metro-Goldwyn-Mayer. At the Festival Theater, 57th Street west of Fifth Avenue. Running time: 103 minutes.Will Blue . . . . . Henry FondaMolly Riordan . . . . . Janice RuleZar . . . . . Keenan WynnAdah . . . . . Janis PaigeEzra/Isaac Maple . . . . . John AndersonJenks . . . . . Warren OatesJessie . . . . . Fay SpainBrown . . . . . Edgar BuchananMan From Bodie . . . . . Aldo RayMae . . . . . Arlene GolonkaAvery . . . . . Lon ChaneyJohn Bear . . . . . Royal DanoMajor Munn . . . . . Paul FixHanson . . . . . Elisha Cook Jr.China . . . . . Kalen Liu
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Aldo Ray: Movies, TV, and Bio
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Browse Aldo Ray movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Aldo-Ray/amzn1.dv.gti.4b0cb101-a96e-48d0-a7d5-64d64d4a5bac/
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Aldo DaRe was born in the borough of Pen Argyl, in Northampton County, Pennsylvania on 25 September 1926. He attended the University of California at Berkeley, served as a US Navy frogman during WWII and saw action on Iwo Jima.
While constable of Crockett, California, he drove his brother Guido to an audition for the film Saturday's Hero (1951). Director David Miller hired him for a small role as a cynical football player. Ray's husky frame, thick neck and raspy voice made him perfect for playing tough sexy roles. He was the star of George Cukor's The Marrying Kind (1952) and starred opposite Rita Hayworth in Miss Sadie Thompson (1953). Ray was the none-too-bright boxer in Cukor's Pat and Mike (1952) and an escaped convict in 'Michael Curtiz''s We're No Angels (1955). His career started downhill in the 1970s, with him appearing in a string of low-budget films as a character actor. His last film was Shock 'Em Dead (1991).
Ray was married three times, with one daughter Claire born in 1951 to his first wife Shirley Green whom he married on on 20 June 1947. Ray was then briefly married to actress Jeff Donnell and then had two sons and a daughter with his third wife, Johanna Ray, one of whom is the actor Eric DaRe. Aldo Ray died of throat cancer on 27 March 1991.
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https://calisphere.org/item/4b819f86c1a208b2c9630367c1bdb917/
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Friends are complimentary
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https://calisphere.org/crop/999x999/26094/df2252f90d0cc06708bc54bf060bdc19
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Photograph was edited for publication purposesPhotograph caption dated August 9, 1955 reads "Aldo Ray's abalone appetizers are very popular among his friends and the recipe is much in demand. Here he and his wife Jeff Donnell raid the freezer in their Valley home."
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Calisphere
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https://calisphere.org/item/4b819f86c1a208b2c9630367c1bdb917/
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Get Citation
We recommend you include the following information in your citation. Look below the item for additional data you may want to include.
Copyright, permissions, and use
If you're wondering about permissions and what you can do with this item, a good starting point is the "rights information" on this page. See our terms of use for more tips.
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https://www.wikiwand.com/en/Aldo_Ray
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en
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Aldo Ray
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Aldo Ray was an American actor of film and television. He began his career as a contract player for Columbia Studios before achieving stardom through his roles in The Marrying Kind, Pat and Mike, Let's Do It Again, and Battle Cry. His athletic build and gruff, raspy voice saw him frequently typecast in "tough guy" roles throughout his career, which lasted well into the late 1980s. Though the latter part of his career was marked by appearances in low-budget B-movies and exploitation films, he still appeared occasionally in higher-profile features, including The Secret of NIMH (1982) and The Sicilian (1987).
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en
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Wikiwand
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https://www.wikiwand.com/en/Aldo_Ray
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Aldo Ray (born Aldo Da Re; September 25, 1926 – March 27, 1991) was an American actor of film and television. He began his career as a contract player for Columbia Studios before achieving stardom through his roles in The Marrying Kind, Pat and Mike (which earned him a Golden Globe nomination), Let's Do It Again, and Battle Cry. His athletic build and gruff, raspy voice saw him frequently typecast in "tough guy" roles throughout his career, which lasted well into the late 1980s. Though the latter part of his career was marked by appearances in low-budget B-movies and exploitation films, he still appeared occasionally in higher-profile features, including The Secret of NIMH (1982) and The Sicilian (1987).
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https://www.famousbirthdays.com/people/aldo-ray.html
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Aldo Ray - Trivia, Family, Bio
|
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Aldo Ray: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more.
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en
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/favicon.ico
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Famous Birthdays
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https://www.famousbirthdays.com/people/aldo-ray.html
|
About
American actor who had notable roles in the films The Marrying Kind, Pat and Mike, and Miss Sadie Thompson. He was nominated for Best Newcomer at the Golden Globes for his work in Pat and Mike.
Before Fame
He was driving his brother Guido to an audition for Saturday's Hero but director David Miller was more interested in Aldo due to his voice, something that helped him gain work through his career.
Trivia
He had a big year in 1955, appearing in Battle Cry, Three Stripes in the Sun, and one of his more famous films, We're No Angels.
Family Life
He married three times and had four children between two of his wives. Every marriage ended in divorce.
Associated With
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https://www.findagrave.com/memorial/120803990/jeff-donnell
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en
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1988) – Find a Grave Gedenkstätte
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Actress. Born Jean Marie Donnell she moved to Towson, Maryland with her parents and older sister when she was a toddler. She took dancing and piano lessons while in school and loved the Mutt and Jeff comic series so much that she adopted the name 'Jeff' as her nickname. After graduating in 1938 from Towson Senior High...
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/assets/images/fg-icon.svg
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https://de.findagrave.com/memorial/120803990/jeff-donnell
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Actress. Born Jean Marie Donnell she moved to Towson, Maryland with her parents and older sister when she was a toddler. She took dancing and piano lessons while in school and loved the "Mutt and Jeff" comic series so much that she adopted the name 'Jeff' as her nickname. After graduating in 1938 from Towson Senior High School, she studied for one semester at the Yale School of Drama where she met her first husband a much older drama teacher. Married at age 19, the two newlyweds created the Farragut Playhouse in Rye, New Hampshire where she was discovered by a talent agent from Columbia Pictures. She made her film debut in the 1942 movie "My Sister Eileen", and would go on to have a steady career in smaller roles in a number of films and television shows from then on until her death 40 years later. She gained notoriety in the 1960s with the role of 'Gidget's' mother 'Mrs. Lawrence' in the beach films "Gidget Goes Hawaiian" (1961) and "Gidget Goes To Rome" (1963). Shed had semi-recurring roles on the television series "The George Gobel Show", "Dr. Kildare", and "Julia". To later audiences she is remembered for playing the maid to the wealthy 'Quartermaines' on the television soap opera "General Hospital". After her first marriage ended in 1952, Jeff Donnell would marry and divorce three more times including one that lasted two years to actor Aldo Ray. In her last years, she suffered from Addision's Disease and died in her sleep from the complications of a heart attack.
Actress. Born Jean Marie Donnell she moved to Towson, Maryland with her parents and older sister when she was a toddler. She took dancing and piano lessons while in school and loved the "Mutt and Jeff" comic series so much that she adopted the name 'Jeff' as her nickname. After graduating in 1938 from Towson Senior High School, she studied for one semester at the Yale School of Drama where she met her first husband a much older drama teacher. Married at age 19, the two newlyweds created the Farragut Playhouse in Rye, New Hampshire where she was discovered by a talent agent from Columbia Pictures. She made her film debut in the 1942 movie "My Sister Eileen", and would go on to have a steady career in smaller roles in a number of films and television shows from then on until her death 40 years later. She gained notoriety in the 1960s with the role of 'Gidget's' mother 'Mrs. Lawrence' in the beach films "Gidget Goes Hawaiian" (1961) and "Gidget Goes To Rome" (1963). Shed had semi-recurring roles on the television series "The George Gobel Show", "Dr. Kildare", and "Julia". To later audiences she is remembered for playing the maid to the wealthy 'Quartermaines' on the television soap opera "General Hospital". After her first marriage ended in 1952, Jeff Donnell would marry and divorce three more times including one that lasted two years to actor Aldo Ray. In her last years, she suffered from Addision's Disease and died in her sleep from the complications of a heart attack.
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https://general-hospital.fandom.com/wiki/Stella_Fields_(Jeff_Donnell)
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Stella Fields (Jeff Donnell)
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https://static.wikia.nocookie.net/general-hospital/images/a/a3/Jeff_Donnell.jpg/revision/latest?cb=20210420062742
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https://static.wikia.nocookie.net/general-hospital/images/a/a3/Jeff_Donnell.jpg/revision/latest?cb=20210420062742
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[
"Contributors to General Hospital Wiki"
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2024-07-12T14:06:28+00:00
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Stella Fields is a fictional character in the ABC daytime drama General Hospital. She was played by Jeff Donnell from 1979 to 1988. Jeanne Bates was temporarily cast as Stella in 1987. When Donnell died of a heart attack in 1988, the character was written off. Stella Fields became the...
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https://static.wikia.nocookie.net/general-hospital/images/4/4a/Site-favicon.ico/revision/latest?cb=20210613023449
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General Hospital Wiki
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https://general-hospital.fandom.com/wiki/Stella_Fields_(Jeff_Donnell)
|
This article is a stub. You can help General Hospital Wiki by expanding it.
Please remove this notice when this article is no longer a stub.
Stella Fields is a fictional character in the ABC daytime drama General Hospital.
She was played by Jeff Donnell from 1979 to 1988. Jeanne Bates was temporarily cast as Stella in 1987. When Donnell died of a heart attack in 1988, the character was written off.
Storylines[]
Stella Fields became the Quartermaines' housekeeper in 1979. She became Lila and Sean's partner in her Pickle Lila relish business.
In 1988, Stella won the lottery and quit her job.
In 2013, it was revealed that Stella died sometime after 1988.
Health and Vitals[]
Died [offscreen; between 1988-2013]
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https://playback.fm/people/first-name/aldo
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Most Famous People Named Aldo
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https://playback.fm/share-image?text=Famous%20Aldos
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https://playback.fm/share-image?text=Famous%20Aldos
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[
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The most famous person named Aldo is Aldus Manutius. Other famous people named include celebrities like Aldo Leopold and Aldo Moro.
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Playback.fm
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https://playback.fm/people/first-name/aldo
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Fame Ranking
What does "Most Famous" mean? Unlike other sites which use current mentions, follower counts, etc. that tend to call the most famous people YouTube stars or Reality TV stars, we've decided to mark fame as a persons importance in history. We've conducted research scouring millions of historical references to determine the importance of people in History. That being said, we might have missed a few people here and there. The ranking system is a continuing work in progress - if you happen to feel like someone is misranked or missing, please shoot us a message!
Fame Ranking
What does "Most Famous" mean? Unlike other sites which use current mentions, follower counts, etc. that tend to call the most famous people YouTube stars or Reality TV stars, we've decided to mark fame as a persons importance in history. We've conducted research scouring millions of historical references to determine the importance of people in History. That being said, we might have missed a few people here and there. The ranking system is a continuing work in progress - if you happen to feel like someone is misranked or missing, please shoot us a message!
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https://www.nytimes.com/1958/09/03/archives/jeff-donnell-married.html
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Jeff Donnell Married
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"The New York Times"
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1958-09-03T00:00:00
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/1958/09/03/archives/jeff-donnell-married.html
|
Advertisement
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Sept. 3, 1958
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Amazon.com
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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God’s Little Acre (1958)
|
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2019-03-08T00:00:00
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If there was an atypical even offbeat Anthony Mann picture, then God's Little Acre would probably fit the bill. Based on the wildly popular and vehemently decried Depression-era work of the same name by Erskine Caldwell, it essentially serves as a second outing for much of the cast and crew involved with a picture from the year prior, Men in War…
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en
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https://secure.gravatar.com/blavatar/6ba31e3ae613f231aa77490ef6cf3a0f0a44fa6750821430e306cccb763c9802?s=32
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4 Star Films
|
https://fourstarfilmfan.com/2019/03/08/gods-little-acre-1958/
|
If there was an atypical even offbeat Anthony Mann picture, then God’s Little Acre would probably fit the bill. Based on the wildly popular and vehemently decried Depression-era work of the same name by Erskine Caldwell, it essentially serves as a second outing for much of the cast and crew involved with a picture from the year prior, Men in War (1957).
We have Mann reteamed with his favorite, Robert Ryan, and young Aldo Ray. Then, most prominently, we have cinematographer Ernest Haller and composer Elmer Bernstein returning. Even Phillip Yordan once more fronts for blacklisted Ben Maddow. And yet the actual results are oil and water.
The opening notes of a folksy title ballad sound off, seemingly more at home in a live-action Disney classic than a mainstream drama such as this. In truth, it’s an outmoded brand of melodrama. We just cannot hope to look at the pedigree the same way with its southern gothic and a hint of hillbilly.
That’s right. It’s part Jed Clampett, the other section Tennessee Williams, edgy and sweaty as any 50s film at its height. But what leaves an impression is not only the raciness for the day but the unadulterated playfulness. This is real Georgia down-home entertainment and it benefits from these qualities.
Ty Ty Walden (Ryan) is a slightly scatterbrained matriarch, who resolutely believes that his daddy left behind gold on their property. He’s hellbent on getting him a piece of the wealth and he’s pursued his aspirations by leaving his family acreage dotted with holes.
He’s dragged his two sons into it too (Jack Lord and Vic Morrow), who are both a bit neurotic in their own right. The jealous Buck is constantly at the throat of his ravishing bride Griselda (Tina Louise in a sweltering debut) believing she still has the hots for their brother-in-law Will Thompson (Aldo Ray), a man married to the eldest Walden gal (Helen Westcott). He’s not altogether wrong but he’s not helping the situation any either. Then there’s Shaw. He just repeats everything his older brother says. They’re not the sharpest tools in the shed. They take after their father.
Meanwhile, their youngest sister, the bodacious southern belle Darlin’ Jill, is quite the looker herself. Buddy Hackett is just about the same as we remember him in all his pictures. That voice. That blubbering. That rotund lovable girth. His character, the aptly named Pluto, comes looking to court Darlin’ Jill who strings him alone as is expected.
Otherwise, the cast also features a criminally underused Rex Ingram as a farmhand and Michael Landon in a thoroughly unique role as an albino. Though only a minor player, he proves a crucial component of the plot since Ty Ty is convinced that albinos have an impeccable radar for gold and he pressgangs the boy to use his remarkable abilities. The beauty is that no one seems to outrightly question such a notion. They just move along like normal. In the meantime, Darlin’ Jill has fun tantalizing her rotund suitor and making eyes at the intriguingly pale Dave Dawson.
The latter half of the story follows lusty looks and passionate clenches as forbidden love is rekindled between Will and Griselda. It seems like just about everyone is being pawed over by everybody else. Tremors are going through the household with Ty Ty putting it upon himself to bring his family together and keep them on amicable terms. It’s not such an easy task with so much dysfunction at hand.
Will’s wife is beside herself as her man gets drunk and has some vague notion of turning the power at the old plant on so work can commence again for all the impoverished locals. But Ty Ty’s also in a scrape for cash and relationships have only deteriorated into fiery hell between Buck and Will — a woman still caught between them.
What are the main takeaways from the picture? It’s a rather incredulous piece that’s provocative and dull and maladjusted all at the same time. Ryan once more shows his capability at ably anchoring an entire film. However, all I could think of was the fact that if God’s Little Acre had been a bit more conventional and garnered a few more accolades for hard-hitting drama, we might be remembering Tina Louise as a cinematic sex symbol instead of a “Movie Star” from Gilligan’s Island. Maybe some movies get buried serendipitously.
3/5 Stars
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https://jeffcomohistory.org/Physicians/donnellw.htm
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en
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William Foster Donnell
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William Foster Donnell born 26 Jun 1860 died 01 Sep 1932
Buried Hematite, Jefferson Co., MO
Son of Eliel Foster Donnell and Laura Catharine England
Married Mary Katherine Cadwallader
Missouri Marriage Records Page 181 Jefferson County
W. F. Donnell of Limitville, Jefferson Co., Mo. over 21; Miss Kate Cadwallader of Hanover, Jefferson Co., Mo. over 18; 23 October 1883 license; married on 24 October 1883 by Robt. G. Brant, MG at Laclede Hotel, St. Louis. Mo.
Jefferson Democrat Oct 31, 1883
Foss DONNELL and Miss Kate Cadwallader, daughter of F.M. Cadwallader, were married at the Laclede Hotel, St. Louis, last Wednesday evening, Rev. Dr. Brauk officiating. We had a cordial invitation to accompany the party to St. Louis and witness the ceremony, but on that day our brother and father came on a visit to us, and we could not get away. We wish the young couple a happy journey through life together, and hope, they may never have cause to regret the step they have taken.
1900 Census, Festus, Jefferson Co., Missouri
Dr. Wm F. Donnell abt 1861
Kate Donnell abt 1865
Dr. Jesse F. Donnell abt 1870 Missouri Brother
Russell Funk abt 1870 Missouri Boarder
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https://www.ask-oracle.com/birth-chart/aldo-ray/
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en
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Aldo Ray Age, Birthday, Zodiac Sign and Birth Chart
|
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2010-06-25T09:37:49+00:00
|
Astrology details of Aldo Ray such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.
|
en
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Ask Oracle
|
https://www.ask-oracle.com/birth-chart/aldo-ray/
|
Zodiac Sign (Western)
Libra
Sunsign, Tropical Zodiac
Zodiac Sign (Vedic)
Taurus
Moonsign, Sidereal Zodiac
Age (Today)
97 years, 10 months, 25 days
Your next birthday is 36 days away.
Birthday
Saturday, September 25, 1926
Death Anniversary
Wednesday, March 27, 2024
Next death anniversary is 145 days away.
Death Date
March 27, 1991
Place of Birth
Northampton County
Time Zone -
Chinese Zodiac Sign
Tiger (虎)
Birth Number
7
Life Path Number
7
Name Number (Chaldean)
19 => 1
Name Number (Pythagorean)
4
Meaning of the name - Aldo
Old, wise, powerful
Read Full Aldo Name Analysis
September 25, 1926 Facts
Generation Group
Aldo Ray belongs to the GI Generation group.
Place of Birth: Northampton County
Place of Death: Martinez
Cause of Death: esophageal cancer
Educated At: John Swett High School
Occupation: television actor | film actor
Spouses: Johanna Ray | Jeff Donnell
Children: Eric Da Re
Employers:
Awards Received:
Astrology Analysis
Western Astrology Chart
North Indian Kundli
Ephemeris for September 25, 1926
Note: Moon position is location and time sensitive.
Planet Position (Tropical, Western) Transits on September 25, 2023 Secondary Progressions for September 25, 2023 Sun 1 Libra 52 2 Libra 22 9 Capricorn 17 Moon 24 Taurus 53 10 Aquarius 38 0 Sagittarius 4 Mercury 6 Libra 47 15 Virgo 7 23 Sagittarius 29 Venus 17 Virgo 21 19 Leo 56 18 Capricorn 59 Mars 19 Taurus 22 18 Libra 59 8 Taurus 6 Jupiter 17 Aquarius 46 14 Taurus 48 26 Aquarius 10 Saturn 22 Scorpio 54 1 Pisces 44 3 Sagittarius 38 Uranus 27 Pisces 16 22 Taurus 47 25 Pisces 48 Neptune 25 Leo 52 26 Pisces 5 26 Leo 43 Pluto 15 Cancer 51 27 Capricorn 56 14 Cancer 59 Rahu 12 Cancer 7 26 Aries 1 6 Cancer 59 Ketu 12 Capricorn 7 26 Libra 1 6 Capricorn 59
More For Libra
Free Horoscopes
Love Compatibility
Personality Traits
Libra Man
Libra Woman
Chandra Kundali (Equal House, North Indian Diamond Chart)
Astrology Transits Analysis for Year 2024
Note: Multiple transits occurring in close proximity often signify a major event in a person's life.
Aldo Ray's 2024 Transits to Natal Planets
Mars conjunction Ketu
Exact: 21 January, 2024
Mars opposition Rahu
Exact: 21 January, 2024
Jupiter trine Ketu
Exact: 11 March, 2024
Mars aspects Mercury
Exact: 31 March, 2024
Jupiter trine Venus
Exact: 31 March, 2024
Jupiter conjunction Mars
Exact: 10 April, 2024
Jupiter opposition Saturn
Exact: 30 April, 2024
Mars opposition Mercury
Exact: 10 May, 2024
Jupiter conjunction Moon
Exact: 10 May, 2024
Saturn opposition Venus
Exact: 20 May, 2024
Mars aspects Saturn
Exact: 30 May, 2024
Jupiter trine Sun
Exact: 09 June, 2024
Jupiter trine Mercury
Exact: 29 June, 2024
Saturn sextile Mars
Exact: 29 June, 2024
Mars aspects Ketu
Exact: 08 August, 2024
Saturn opposition Venus
Exact: 08 August, 2024
Jupiter trine Jupiter
Exact: 28 August, 2024
Mars square Sun
Exact: 07 September, 2024
Ketu conjunction Mercury
Exact: 07 September, 2024
Mars square Mercury
Exact: 17 September, 2024
Mars conjunction Rahu
Exact: 27 September, 2024
Mars opposition Ketu
Exact: 27 September, 2024
Mars aspects Jupiter
Exact: 07 October, 2024
Jupiter trine Jupiter
Exact: 16 November, 2024
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https://filmboards.com/board/t/Aldo-Ray-2569188/
|
en
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Aldo Ray : Aldo Ray
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2004-08-03T12:59:06+00:00
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en
|
https://s3.us-west-2.amazonaws.com/filmboards.static/images/favicon.ico
|
https://filmboards.com/t/Aldo-Ray/Aldo-Ray-2569188
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14228
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https://vintagepaparazzi.com/whos-no-angel-aldo-ray-jeff-donnell/
|
en
|
Who’s No Angel?—Aldo Ray & Jeff Donnell
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2023-02-23T12:00:00+03:00
|
His feathers are sometimes ruffled. And he often growls in most unangelic tones. But he’s a heavenly guy to live with. Ask Mrs. Aldo Ray!
|
tr
|
Vintage Paparazzi - It is a news site that aims to reach today's people with the original news published by many celebrities who have achieved fame from the past to the present.
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https://vintagepaparazzi.com/whos-no-angel-aldo-ray-jeff-donnell/
|
Along a shady, tree-lined street in North Hollywood, in a lovely sprawling corner house, live the Aldo Rays. Their house is much like every other home on the block, with this exception—the doorbell doesn’t work. To raise the household, one must be clairvoyant and beat on the door at the exact moment. Aldo, Jeff, Sally or Mike might be peering out from behind the front window. This is no easy feat—they’re usually elsewhere. Behind the house, there used to be a back yard—until Aldo filled it in with brick, cement and water and converted it into a swimming pool. The pool, incidentally, is the reason why the Rays both drive around in old cars. They had their choice.
Every day, except Saturday nights when she plays to the whims of George Gobel, Jeff Donnell bows to a bigger, more whimsical guy whom she affectionately calls “Altitude.” If you think this is a joke, ask Alice—I mean Jeff.
“Before we were married,” Jeff confides dismally, “Aldo looked like a Greek god. He bought eight beautiful suits and was slicked up all the time. Now he looks like a—”
“Slob,” rasped Aldo coming from underneath the ground. He was still working on the swimming pool—in T-shirt and ragged jeans. “It kills me to slick up,” he confessed honestly. “Typical male story, I know. But men will thank me for being honest, won’t they dear?”
“And women will hate you,” responded his mate.
“My mother doesn’t hate me,” Aldo commented quickly. “Although Jeff thinks I’m cruel to her.”
“Well, you’re too blunt.”
“I merely said that her dinner was lousy. That sure was one time when her food experiment didn’t turn out.”
Conversation deadlocked, Jeff changed the subject tactfully, hinted that she’d like to see the work he’d done on the pool. “Ha,” his grin broadened. “It’ll be finished soon. Twenty by forty—enough room to really swim. Then,” casting a defensive eye at Jeff and covering his midriff with his hand, “I’ll swim down to a hundred and ninety pounds.”
Finding no sympathy in Jeff’s eye, he added ruefully, “Look, I burned my hands. That new brick I laid in the patio. I found the cement had chloric acid.
Jeff and Aldo are happy. They planned it that way. Friends use to plague them with “When are you two getting married?” Finally, when everyone had given up, they married. “The reason was a very practical one,” says Aldo. “We had to be sure we had enough money for marriage.” Aldo, the oldest of seven children, six boys and a girl, knew poverty as a kid. “My father was a poor laborer who sacrificed all for his family—and Mother sacrificed even more.” Aldo’s careful consideration for money was understandable and Jeff realized that for him happiness had to be planned—like their house, their swimming pool and Jeff’s holdout with his studio for better roles.
With the success of “We’re No Angels,” Aldo thought it time to take a stand for better roles. He refused “Jubal Troop.” His career is important to him, but so are the roles he plays. He took suspension on the chin with his natural good humor. “Now I’ll have time to enjoy people.”
“Aldo loves meeting people,” Jeff confides. “He has kind of a happy vitality that people like to get close to. Mrs. Hammond, who’s been with me and the children for years, has fallen in love with him. Now everything takes a back seat to Aldo. If we can’t find her, we know she’s in her room, filling her scrapbook with his clippings. Recently, Aldo filled in for Marlon Brando at an award dinner of the Sound Technicians Union. He loved it. ‘With my voice, nobody knows better than I do how important you guys are,’ he thanked them. And you should have seen him at the Hollywood Woman’s Press Club party. All those women and one man. He was in his glory. For a minute, when he came in, he was thrown. But, of course, he would never admit it.”
“Admit what?” interrupted the object of the conversation. “I’ll admit anything. I admit I think special days for special things are ridiculous. Like Mother’s Day, anniversaries, Father’s Day, dog day. Name it, I think it’s crazy. I like to remember people with presents when I feel like it and I don’t want an advertising genius to tell me when to honor my mother. I admit it.” He disappeared again toward the back yard.
“Aldo’s really serious, you know,” Jeff explained. “For two reasons, I think. One, he really does hate to be told—his whole family is that way. But the other reason, I think, is that they didn’t have enough money to celebrate birthdays, anniversaries, Mother’s and Father’s Days, and he just naturally built up dislike for the idea.”
Mike, Jeff’s young son, came cautiously into the living room. “Is he out back?” he asked with a conspiratorial wink. “I hid it where he can’t find it. Okay?”
“Okay,” his mother affirmed. After the introductions, she explained, “It’s not as mysterious as it sounds. It’s just Aldo’s birthday present. He’s really like a small boy when you give him a gift. Mike washed both cars to get enough money to buy it. He couldn’t decide between bullets for hunting or an axe. That’s why I was so bushed this afternoon—I ran him all over North Hollywood. Aldo smelled a mouse and he’s going crazy trying to get in on it. He can’t stand a secret. That’s why he pops in unexpectedly. On his birthday he protests like mad, but he loves every minute of it.”
“Loves every minute of what?” interrupted Aldo as he came through the door. “What do I love, huh?”
Jeff looked at him in despair as he sidled self-consciously to a chair, settled himself into the conversation. In a monotonous, singsong voice she started: “Aldo Ray was born in Pen Argyl, Pennsylvania, September twenty-fifth, nineteen-twenty-six. He was one of seven children. He . . .”
“Everybody knows that. I know that. You know that—everybody knows that. Crimenently!” he said in a George Gobel voice with a heavy cold. “Hey,” he roared suddenly, “I gotta prize possession. Gotta show you.” He disappeared toward the bedroom a la Gobel.
“Aldo gets a bang out of my being Mrs. George Gobel on Saturday nights,” Jeff said. “They have a mutual admiration society. Saturday nights I have George in front of me and Aldo behind me.” With that Aldo bounced out of the bedroom, struck an attitude and flexed his chest muscles. He had changed one white T-shirt for another. The only difference was that this one had “Lonesome George” written across the front in three-inch red letters. “How about that?” asked husband number one. “I go to the store in this and I really get the attention.”
“You get plenty of attention from me after you go to the store,” Jeff responded dryly. “When he shops, he buys the best steaks, anchovies, the very best. I go and buy the makings for a casserole. It makes for an erratic diet—the case of the plain and fancy food. Of course, he’s a wonderful cook. Does mad things with food—always experimenting. Terrific on fish, liver, steak, barbecues, veal. On his first personal-appearance tour, he ate his way around the country. When he was in Japan, making ‘Three Stripes in the Sun,’ he was so busy eating he didn’t have time to write me.”
“You got one letter to your five.”
“He’d rather phone than write. He is not practical about the telephone,” Jeff added. “From Texas, Honolulu, Japan.”
“Look who’s talking,” Aldo interrupted. “Who called who in Japan?”
“Who called whom,” corrected Jeff.
“All right—whom called whom in Japan?”
“That was different,” Jeff’s voice softened and the banter was all gone.
“Yeah,” came a quiet growl of acknowledgement, “that was different.”
The living room was silent for a moment, both remembering how excited they were to begin a family. They bought an acre lot in Encino, planned their dream home on paper. Then Jeff lost the baby and had to call her unhappy news to Aldo in Japan.
“I used the brick from the Encino lot on our patio today. We were going to build there, but with the house, retaining wall, landscaping, furniture and a pool it would have run around sixty thousand dollars and that’s ridiculous. So we decided to build a pool in the back yard here and stay. It’s big enough and it’s comfortable.
“You know, it’s practical,” he continued, throwing off the momentary sadness. “We both work, so we have to have two cars. One’s a ’fifty-one and one’s a ’fifty-two. We figured it up. A new car costs more than a pool. And with maintenance and all it’s even more expensive. Also a car you gotta trade in—a swimming pool you’ve got forever. It figures.
“Our friends are right here in the neighborhood, too. If someone gives a barbecue, we all chip in on the steak and bring our tables along.
“Folks around here aren’t trying to prove anything to anybody. We’ve got a tire salesman in the next block and . . .”
“Aldo,” Jeff admonished with a reproving chuckle.
“And a bust developer salesman,” he continued blithely. “I just love to throw him into the conversation and Jeff always dies when she knows it’s coming. Anyway, we don’t believe in going in over our heads in the buying department. I like to pay cash.”
“Aldo learned to be responsible when he was a kid,” Jeff reflected as he left the room. “As the oldest of seven kids, they were all looking to him for the answers by the time he was in high school—even his mother and father leaned on his advice. They all knew Aldo would be somebody. To them, he was somebody then. Maria, his mother, is adorable. Aldo suddenly got the idea of buying a big refrigerator for her a few months ago. He drove it all the way up to Crockett just to see his mother’s face when she got it. Maria was thrilled with it, but she keeps the old one ready on the back porch, just in case the new one breaks down. Years of being careful can’t be wiped away quickly. When Aldo gave her a huge television set, she thought it pure extravagance.
“Aldo says he’s not sentimental,” Jeff continued, “and he’s not, in the usual sense. His love runs deep for his family and he takes it out in sudden, unexpected acts. Like the time he was in New York and suddenly thought of Maria’s brother. He looked him up and had him over to the hotel. They swapped stories for a while and Aldo said suddenly, ‘You haven’t talked to Maria for twenty-five years. Tonight, you talk.’ He got his mother on the phone in Crockett and put his uncle on. When Maria realized she was talking to her brother, she started to cry. The uncle started to cry . . .”
“And I started to cry,” added Aldo from the doorway. “For fifteen minutes while the dollars ticked away, those two sat at opposite ends of the country not saying a word, just crying. So I sat looking at my uncle and I cried.
“I have a dream,” he said abruptly, placing the coffee and settling into a chair. “Someday I am going to send my mother to Brazil to see her father. He has a big ranch there. When Maria was eight, he sent her to Italy. Then she came to Pennsylvania, married Papa and came West. Someday I’m going to send her to visit the father she hasn’t seen for forty years. He is a handsome white-haired man. While she is gone,” he said, changing his mood abruptly, “Papa can dance with Jeff.”
Jeff grinned, “Last New Year’s Eve I spent the whole evening dancing with Papa. The house was bursting with DaRes. Aldo was out in the garage trying to sleep on an Army cot. He had an early morning call. So Papa and I danced until I was worn out. He could have gone on forever.”
“The boys drop in all the time,” Aldo explained. “They just pop in when they’re in town. Dante will be here pretty soon. He’s stationed in Long Beach waiting to get his Navy discharge. Mario,” he shook his head sadly, “will not be with us much longer.”
“For heaven’s sake, Aldo,” Jeff said sharply, “he’s only getting married. He’s not dying.”
“Remember the time the studio took me out to USC to take pictures of my brother Mario and me?” Aldo said with a proud smile.
“I do,” retorted Jeff. “Those girls kept driving by the campus waving and calling. And our hero here waved and called back, making like a movie star. Finally it dawned on my knight that the girls were waving at Mario—not Aldo. Who was Aldo? Mario was a big campus football player!”
“Dante is the funny one,” Aldo commented getting his long legs comfortable on the ottoman. “One day he drops in and I say, proud-like, ‘Hey, Dante, I’m going to make a movie at M-G-M.’ Real quick he comes back, ‘What are you going to do, the Lion’s roar?’ Sharp tongue, sharp eye. When he was a kid, he went out and shot a hundred and fifty wild birds for food. Boy, we had birds for a week and a half, every way Mama could think of to cook them. It saved the day.
“Dante’s wonderful around the house. Once he painted a friend of our’s house because I bet him fifty cents he couldn’t do it. They paid him of course, but you just can’t never say ‘you can’t’ to a DaRe.
“My mother, ever since I was in the seventh grade, she expected great things from me,” Aldo reminisced. “So did I; I expected to be president. But she was afraid of my drive. Always felt I might push too hard. Things are different for Louie, my five-year-old brother. He is a real personality kid. He’s got big black heavy eyebrows and, when he gets mad, he squints his eyes and those eyebrows arch just like the devil’s. He’s got a mind of his own, too. When Mother started to drag him to the show to see ‘The Marrying Kind’ for the fourth time, he dug in his heels and howled. ‘No, I’m not going. I’ve seen enough of Aldo.’ He was able to sit through it three times, though. How am I doing?” he winked at Jeff, as she shooed him out of the room.
“Even though Aldo kids around a lot, he takes his work seriously,” Jeff explained. “He’s a natural actor and works hard at it besides. I’ve watched him grow on the screen and I know he can do anything—and will. I don’t say this in front of him often, but . . .”
“But what?” asked Aldo, bouncing into the room with Jeff’s daughter, Sally, on his arm.
Jeff stopped, burst into a wonderful warm smile. “I don’t say it often—but you just can’t get them types of husbands like Altitude no more.”
THE END
—BY DEE PHILLIPS
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Jeff Donnell and Bill Anderson
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20 August 2024... Jeff Donnell and Bill Anderson photos, news and gossip. Find out more about...
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/jeff-donnell-and-bill-anderson
|
Jeff Donnell and Bill Anderson were married for 11 years. They dated for 11 months after getting together in Sep 1940 and married on 25th Dec 1940. 11 years later they divorced in 1952.
They had 2 children, Michael Phineas and Sarah Jane.
About
Contribute
Jeff Donnell and Bill Anderson - Dating, Gossip, News, Photos list. Help us build our profile of Jeff Donnell and Bill Anderson! Login to add information, pictures and relationships, join in discussions and get credit for your contributions.
Relationship Statistics
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https://wiki.tarantino.info/index.php/Lt._Aldo_Raine
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Lt. Aldo Raine
|
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Character in Inglourious Basterds played by Brad Pitt
Photos
Background
aka "Aldo The Apache"
Occupation: 2nd Lieutenant in the US Army First Special Service Force. The non-Jewish leader of "The Basterds" Jewish-American/German soldier unit.
A hillbilly-moonshiner from Maynardville, Tennessee. He bears a large scar around his neck which is rumored to be from a lynching. Aldo's nickname "The Apache" comes from his penchant for scalping Nazis (done in the tradition of American Apache Indians). In his introductory scene, Raine states that he is a direct descendant of legendary mountainman Jim Bridger.
TARANTINO TRAITS: Being a native of Tennesee, Quentin Tarantino has strong ties to Southerners and likes to pay tribute to good ol' boys in his films. Like Butch Coolidge from Pulp Fiction, Aldo Raine is also from QT's home state. Other rural inspired characters from QTs films include Zed & Maynard in Pulp Fiction, Sheriff Earl McGraw and Budd in Kill Bill and Stuntman Mike in Death Proof (who moves to Tennesee).
Cool Quotes
"My name is Lt. Aldo Raine, and I'm putting together a special team. And I need me eight soldiers. Eight – Jewish – American – Soldiers. Now y’all might have heard rumors about the armada happening soon. Well, we’ll be leavin' a little earlier. We’re gonna be dropped into France, dressed as civilians. And once we’re in enemy territory, as a bushwackin’ guerilla army, we’re gonna be doin' one thing, and one thing only: Killin' Nazis. The members of the National Socialist Party have conquered Europe through murder, torture, intimidation and terror. And that's exactly what we’re gonna do to them. Now I don’t know about y’all, but I sure as hell didn’t come down from the goddamn smoky mountains, cross five thousand miles of water, fight my way through half of Sicily, and then jump out of a fuckin' air-o-plane, to teach the Nazis lessons in humanity. Nazi ain’t got no humanity. They're the foot soldiers of a Jew-hatin', mass-murderin' manic, and they need to be destroyed. That’s why any and every son-of-a-bitch we find wearin' a Nazi uniform, they're gonna die. We will be cruel to the Germans, and through our cruelty, they will know who we are. They will find the evidence of our cruelty, in the disemboweled, dismembered, and disfigured bodies of their brothers we leave behind us. And the German will not be able to help themselves from imagining the cruelty their brothers endured at our hands, and our boot heels, and the edge of our knives. And the Germans will be sickened by us. And the Germans will talk about us. And the Germans will fear us. And when the Germans close their eyes at night, and their subconsciousness tortures them for the evil they’ve done, it will be with thoughts of us, that it tortures them with. But I got a word of warning to all would be warriors. When you join my command, you take on debit. A debit you owe me, personally. Every man under my command, owes me, one hundred Nazi scalps. And I want my scalps. And all y’all will get me, one hundred Nazi scalps, taken from the heads of one hundred Nazis or you will die trying."
Trivia
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FamilySearch.org
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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https://1000randomnames.com/
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1000 random names
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Generate 1000 random names
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https://1000randomnames.com/
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This page generates random names using the one thousand most common last names from the 2010 US census; the one thousand most common 2020 female given names from SSA; as well as the one thousand most common 2020 male given names from SSA. First and last names are combined randomly when the page loads. Odd-numbered first names are female and even-numbered first names are male. Duplicate first name–last name combinations are improbable since the page can produce 2M different names; however no duplicate check is performed, since it is possible for real names to be identical as well. We made this page because we needed a quick way to get a long list of random names for use in UX mockups and UI designs, and the excellent app we normally use for this — uinames.com — was offline.
Samhæng
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Aldo Ray, Jeff Donnell Marry
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1954-10-02T00:00:00
|
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https://www.nytimes.com/1954/10/02/archives/aldo-ray-jeff-donnell-marry.html
|
Advertisement
SKIP ADVERTISEMENT
1
Aldo Ray, Jeff Donnell Marry
Oct. 2, 1954
See the article in its original context from
October 2, 1954 , Page 21Buy Reprints
TimesMachine is an exclusive benefit for home delivery and digital subscribers.
Full text is unavailable for this digitized archive article. Subscribers may view the full text of this article in its original form through TimesMachine.
Advertisement
SKIP ADVERTISEMENT
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Instagram
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https://kennebecasisfh.com/tribute/details/32326/Ian-O-Donnell/obituary.html
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Obituary of Ian O'Donnell
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It is with heartfelt sorrow that the family of Kenneth Ian O’Donnell husband of Minerva (Loggie) O’Donnell, announce his sudden passing on Wednesday,
|
en
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https://kennebecasisfh.com/tribute/details/32326/Ian-O-Donnell/obituary.html
|
It is with heartfelt sorrow that the family of Kenneth Ian O’Donnell husband of Minerva (Loggie) O’Donnell, announce his sudden passing on Wednesday, November 15, 2023, at the Saint John Regional Hospital.
Born in Newcastle, NB on August 14, 1949, Ian was a son of the late Beverley and Alice (Ingram) O’Donnell. He was employed as an Instrumentation Technician with Heath Steele Mines, then Potacan Mining Company, Cassidy Lake, New Brunswick for several years. In 1998, he and Minerva moved to Amherstburg, ON, where he worked for Honeywell before retiring in 2014, and moving back to Rothesay in 2016. Ian was a long-standing member of the Valley Cruisers Car Club He liked nothing better than to go for a cruise with Minerva in their 1964 Galaxie 500XL and was proud of the car, a 56 Ford Fairlane, that he was in the process of restoring for Minerva. Ian was also a member of the Hampton and Windsor Curling Clubs. He enjoyed travelling. Much like his life, their trips were planned with a focus first on the journey rather than the destination with a highly researched itinerary of waypoints driven by the food adventure of the day!
Ian is survived by loving wife Minerva of 36 years, as well as his sons; Gary Sullivan (Tanya) of Darlings Island, and Robert Sullivan (April) of Hampton, daughters; Cindy Matthews (Jeff) of Kingston, and Bev Burhoe (John) of Upham, brother John (Jean) of Moncton, grandchildren; Jodie and Evan Sullivan, Emma and Bennett Sullivan, Taylor and Jon Matthews (Paige), and Brooke and Hailey Burhoe, as well as several nieces, nephews, and extended family. Ian will be missed by many, especially close friends Harold and Marilyn Duplacey. Ian and Harold shared many interests such as antique cars and car racing. This led to many memorable trips and stories.
Ian was predeceased by his parents, and his son Michael Sullivan.
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https://www.historyforsale.com/aldo-ray-autographed-inscribed-photograph/dc323982
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Aldo Ray - Autographed Inscribed Photograph
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Aldo Ray - Autographed Inscribed Photograph - Item 323982. The tough-guy actor poses with fan in candid 4x6 photo, signs his name in black inkInscribed photograph signed: 'Clint/ Best of/ it all/ Aldo Ray' in black ink. Color, 4x6. Shop for Aldo Ray related autographs, signed photographs, historical documents and manuscripts from the world's largest collection. Every purchase includes our industry recognized COA. Worldwide shipping available.
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HistoryForSale - Autographs, Collectibles & Memorabilia
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Customers who fail to complete purchase after an offer has been accepted will lose their ability to make any future offers.
Any price discount that results of this process cannot be combined with any other discounts or promotions on our site and will be the final price for this document. Documents remain available at the regular listed price to all users until purchased. Therefore, we suggest that users check their emails frequently for our response as purchase of a document is subject to its availability. Under certain circumstances offers may be cancelled prior to the offer expiration date and users may not always be notified of an offer status change.
Each hand-signed document has been authenticated and is accompanied by a certificate of authenticity issued by our parent company Gallery of History Inc. The term of the COA is 10 years from the date of purchase and is valid to the original purchaser only. We have an outstanding reputation for the thoroughness of our research, for our business integrity and for our service to our clients. We financially stand behind our COA which is one of the main reasons we've been able to stay in business for so long (since 1981)!
Within the 10 year COA period, each hand-signed item is guaranteed to pass PSA/DNA or JSA authentication or we will refund your full purchase price.
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https://www.nytimes.com/1952/03/14/archives/the-screen-two-new-films-on-local-scene-the-marrying-kind-with-judy.html
|
en
|
THE SCREEN: TWO NEW FILMS ON LOCAL SCENE; ' The Marrying Kind,' With Judy Holliday and Aldo Ray, Has Premiere at Victoria British Film, 'Marry Me,' Comes to Art Theatre
|
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1952-03-14T00:00:00
|
Delightful, rounded comedy, nimbly penned by Mr. and Mrs. Garson Kanin.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/1952/03/14/archives/the-screen-two-new-films-on-local-scene-the-marrying-kind-with-judy.html
|
The simple domestic problems of a young married couple in New York—he a postoffice worker and she an ex-secretary—have been treated with cheerfulnees and wisdom in the clever and facile script Ruth Gordon and Garson Kanin have written for Columbia's "The Marrying Kind." And the wonderfully fluent talents of that grand actress, Judy Holliday, and an equally potent new actor by the name of Aldo Ray have been put by Director George Cukor to the incarnation of this script into what will undoubtedly stand up as one of the happiest entertainments of the year. It had its opening performance at the Victoria yesterday.Think it not curious if we don't seem to be as side-splittingly impressed with the hilarities in this picture as its promotion might lead you to expect. Hilarity is in it—hilarity of the best—as would be almost mandatory in any picture with Miss Holliday. But the charming and lastingly affecting thing about "The Marrying Kind" is its bittersweet comprehension of the thorniness of the way that stretches out for two young people after they have taken the marriage vows.Thorniness isn't apparent at the start, we'll concede—and that's a cue not alone to the pattern of this picture but to the realism of its view. The present is full of sunshine as our two young people meet in Central Park and, before they know it—he, at least—are saying, "I do." It is also loaded with laughter when they light up their first private home—an apartment in Peter Cooper Village—and start being man and wife.There is even hilarity in their squabbling over such a ridiculous thing as his getting tight at a party and paying too much attention to a blonde. And humor, less strident but tender, is in their confusion and dismay when a radio jackpot-show calls them and dangles that bright, elusive prize.But "The Marrying Kind" is not so funny when tragedy strikes the little home and a good bit of mutual understanding and sacrifice are required. And it is in this phase of the story that Miss Gordon and Mr. Kanin have conveyed the poignancy of frustrations that make marriage so challenging. It is here that they prove their moral—that the natural and ever-hopeful chase after glittering, material ambitions is a wistful and endless dream.Although the form of the picture is a good bit on the obvious side, with the two frustrated spouses telling their story to a judge, Miss Gordon and Mr. Kanin have made it most palatable by wittily having the narrator tell a different story from that which is played on the screen. Thus when the husband tells his story of how he met his future wife, the facts as he narrates them are not entirely in accord with what is shown. "It so happens I remember it different," Miss Holliday primly says.Also the rather sharp transition from the hilarity of gentle farce to the tension of sober drama may be a bit abrupt for easy assimilation, but the development is sound and the contrast in mood and comprehension elevates the significance of the film.Naturally, everybody is eagerly anxious to know how well Miss Holliday's performance stands up with her one in "Born Yesterday." Have no dread on that score. Her portrayal of an average New York girl—a girl who makes her marriage resolution, "I'm gonna think a half-hour every day," to the utter bewilderment of her mother, who wants to know what she's going to think about—is beautifully textured and colored with expressions, modulations of voice and a good bit more outgive of emotion than was evident in her other role.But the big surprise of this picture is the talent of Mr. Ray in presenting a richly appealing and naturally complicated young man. Not handsome but sturdy in appearance, and possessed of a melting, husky voice, he has a gift for flowing humor and straight-faced pathos that is almost beyond belief. His winning performance of the husband is a great factor in this film.Under Mr. Cukor's fine direction, others turn in superb performances, too—Madge Kennedy as the judge, John Alexander as a wealthy brother-in-law, Mickey Shaughnessy as another in-law, Rex Williams as a friend and many more. The colorful performance of I much of the exterior work in New York enhances the happy illusion of actuality.This reviewer has fond recollections of King Vidor's old film, "The Crowd," which was also about the frustrations of a young married couple in New York. "The Marrying Kind" compares to it, and that's the nicest compliment we can pay.
THE MARRYING KIND, written by Ruth Gordon and Garson Kanin; directed by George Cukor; produced by Bert Granet for Columbia Pictures. At the Victoria.Florence Keefer . . . . . Judy HollidayChet Keefer . . . . . Aldo RayJudge Carroll . . . . . Madge KennedyJoan Shipley . . . . . Sheila BondHoward shipley . . . . . John AlexanderGeorge Bastian . . . . . Rex WilliamsMrs. Derringer . . . . . Phyllis PovahEmily Bundy . . . . . Peggy CassPat Bundy . . . . . Mickey ShaughnessyCharley . . . . . Griff BarnettEllen . . . . . Susan HallaranJoey, age 4 . . . . . Barry CurtisJoey, age 6 . . . . . Christy OlsenNewhouse . . . . . Wallace ActonMarian . . . . . Elsie HolmesThe first third of "Marry Me," a J. Arthur Rank import that was quietly ushered into the downtown Art Theatre yesterday, is a delight to watch. The ticklish subject of a commercial marriage bureau, with its practical conniving and lonely customers, would seem to be a natural for the restrained penetration of the British trademark.In this Betty E. Box production, Terrence Fisher has directed an excellent cast in four varying vignettes of successful and unsuccessful romance as arranged by a pair of spinsters operating a "respectable business" in London. But though there is talent on all sides, the film as a whole is a disappointingly contrived package job. It has none of the slickness of a recent Hollywood go at the subject, "The Model and the Marriage Broker," a much better all-around effort, but little of the latter's conviction.The episodes are linked smoothly enough by a brash young reporter's research for a syndicated expose. This eager beaver, played by David Tomlinson, gets paired off with a day-dreaming waitress, Carol Marsh, who poses as a debutante. The second brackets Derek Bond, a business man, and Zena Marshall, a desperate French refugee, who are presently menaced by the lady's vengeful criminal lover. The third, and most provocative, concerns a handsome couple, Susan Shaw and Patrick Holt, who turn out to be a night club hostess and a village clergyman. And the best, involving Guy Middleton, Nora Swinburne and Denis O'Dea drolly tells how a galvanized bachelor swipes a schoolmarm from his butler, and rates inclusion in one of the Somerset Maugham showcases.The dialogue is persuasive and the performances are excellent throughout, including those of Jean Cadell and Mary Jerrold, the marriage "brokers," and Brenda Bruce, Miss Shaw's stand-by.However, Scenarists Dennis Waldock and Lewis Gilbert have blunted their ingenious stories with some melodramatic and whimsical resolutions. Terrence Fisher's direction is strictly assembly-line. And whoever dreamed up one merciless scene squelching the hopes of a sweet-faced spinster should be filed away under Z. Without accomplishing much else, "Marry Me" succeeds in casually raking the exposed human heart with some civilized spurs.
MARRY ME, screen play by Dennis Waldock and Lewis Gilbert; directed by Terence Fisher; produced by Betty E. Box; a Gainsborough Picture, presented by J. Arthur Rank and released by Ellis Films, Inc.Pat . . . . . Susan ShawMartin . . . . . Patrick HoltAndrew . . . . . Derek BondMarcelle . . . . . Zena MarshallDavid . . . . . David TomlinsonDoris . . . . . Carol MarshSir Gordon . . . . . Guy MiddletonEnid . . . . . Nora SwinburneSaunders . . . . . Denis O'DeaBrenda . . . . . Brenda BruceHester Parsons . . . . . Jean CadellEmily Parsons . . . . . Mary Jerrold
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Jeff Donnell (July 10, 1921 April 11, 1988) was an American film and television actress. Born Jean Marie Donnell, she grew up in South Windham, Maine. As a child, she adopted the nickname Jeff after the character in her favorite comic strip, Mutt and Jeff. To avoid gender confusion, she was some
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Alchetron.com
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https://alchetron.com/Jeff-Donnell
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Nisha Rathode
(Editor)
I love writing and learning new things in order to better educate those in need. I also enjoy hackathons and adventures around the world.
Jeff Donnell
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Barbara Hale, Jeff Donnell Rare TV Interview
Jeff Donnell (July 10, 1921 – April 11, 1988) was an American film and television actress.
Contents
Barbara Hale Jeff Donnell Rare TV Interview
Early years
Career
Death
Filmography
References
Early years
Born Jean Marie Donnell, she grew up in South Windham, Maine. As a child, she adopted the nickname "Jeff" after the character in her favorite comic strip, Mutt and Jeff. To avoid gender confusion, she was sometimes billed as "(Miss) Jeff Donnell."
Donnell graduated from Towson High School, Towson, Maryland, in 1938 and attended the Leland Powers School of Drama in Boston, Massachusetts. Later, she studied at the Yale School of Drama.
Career
Donnell was signed to a contract by Columbia Pictures while she was active with the Farragut Playhouse in New Hampshire, and she made her film debut in My Sister Eileen (1942). She later had roles in some RKO films.
She was not a major star, but she did have a lengthy film and television career in various supporting roles, including the role of Gidget's mother, "Dorothy Lawrence", in Gidget Goes Hawaiian and Gidget Goes to Rome. She also played Hannah Marshall in the Gidget television series.:391 She portrayed Mrs. Bennett in Julia,:548 and in 1966 she made five appearances on Dr. Kildare as Evelyn Driscoll.
For three seasons, she portrayed George Gobel's wife, Alice, in The George Gobel Show (1954–1957) on NBC-TV, and she played Ethel on the Matt Helm TV series.:667
Death
Donnell died of a heart attack on April 11, 1988, aged 66. Her sudden absence from General Hospital, on which she had a recurring role as the Quartermaines' housekeeper at the time of her death, was explained away by the writers as her character having won the lottery and quit her job.
Filmography
Actress
1979
General Hospital (TV Series) as
Stella Fields / Stella
1979
Fantasy Island (TV Series) as
Mrs. Hoyt
- The Cheerleaders/Marooned (1979) - Mrs. Hoyt
1979
Portrait of a Stripper (TV Movie) as
Edith Sterling
1979
Rendezvous Hotel (TV Movie) as
Mrs. Williams
1979
Murder by Natural Causes (TV Movie) as
Mrs. Mathews
1978
The Bob Newhart Show (TV Series) as
Clara Hackler
- Freudian Ship (1978) - Clara Hackler
1977
The Amazing Spider-Man (TV Series) as
Aunt May Parker
- Spider-Man (1977) - Aunt May Parker
1977
The Feather and Father Gang (TV Series) as
Annie
- The Apology (1977) - Annie
1977
Chico and the Man (TV Series) as
Peggy Randall
- Matchmaker, Matchmaker (1977) - Peggy Randall
1976
Gibbsville (TV Series)
- Saturday Night (1976)
1976
McNaughton's Daughter (TV Mini Series) as
Juror
- McNaughton's Daughter (1976) - Juror
1975
Matt Helm (TV Series) as
Ethel
- Die Once, Die Twice (1976) - Ethel
- Death Rods (1975) - Ethel
- Deadly Breed (1975) - Ethel
- Murder on Ice (1975) - Ethel
- Scavenger's Paradise (1975) - Ethel
- Now I Lay Me Down to Die (1975) - Ethel
- Dead Men Talk (1975) - Ethel
1974
Police Story (TV Series) as
Mrs. Attles / Martha
- Face for a Shadow (1975) - Mrs. Attles
- Fingerprint (1974) - Martha
1975
Kolchak: The Night Stalker (TV Series) as
Maura
- The Knightly Murders (1975) - Maura
1974
Paper Moon (TV Series) as
Mrs. Carson
- Green Goods (1974) - Mrs. Carson
1974
Marcus Welby, M.D. (TV Series) as
Cleaning Woman
- Last Flight to Babylon (1974) - Cleaning Woman
1973
The Girl with Something Extra (TV Series) as
Betsy Burton
- Mind-ing Mama (1973) - Betsy Burton
1971
Love, American Style (TV Series) as
Mrs. Gellar (segment "Love and the Unwedding") / Mrs. Hutton (segment "Love and the Bashful Groom")
- Love and the Big Top/Love and the Locksmith/Love and the Odd Couples/Love and the Unwedding (1973) - Mrs. Gellar (segment "Love and the Unwedding")
- Love and the Awakening/Love and the Bashful Groom/Love and the Four-Sided Triangle/Love and the Naked Stranger (1971) - Mrs. Hutton (segment "Love and the Bashful Groom")
1973
Here We Go Again (TV Series) as
Aunt Patti
- Class of '77 (1973) - Aunt Patti
1973
The ABC Afternoon Playbreak (TV Series) as
Mrs. Cummings
- The Gift of Terror (1973) - Mrs. Cummings
1973
Cannon (TV Series) as
Mrs. Holt
- The Seventh Grave (1973) - Mrs. Holt
1973
Barnaby Jones (TV Series) as
Janet Gossett
- Sunday: Doomsday (1973) - Janet Gossett
1973
Adam-12 (TV Series) as
Mrs. James Nelson
- O'Brien's Stand (1973) - Mrs. James Nelson
1969
The F.B.I. (TV Series) as
Mrs. Kraft / Rooming House Manager
- Holiday with Terror (1972) - Mrs. Kraft
- Blood Tie (1969) - Rooming House Manager
1972
Young Dr. Kildare (TV Series)
- Pilot (1972)
1972
Stand Up and Be Counted as
Ruth
1972
Emergency! (TV Series) as
Katie
- Crash (1972) - Katie
1972
Me and the Chimp (TV Series) as
Grandma
- One Romantic Evening (1972) - Grandma
1971
The Jimmy Stewart Show (TV Series) as
Agatha Dwiggins / Mrs. Dwiggins
- Price Is Right (1972) - Agatha Dwiggins
- As the Escrow Flies (1972) - Mrs. Dwiggins
- Guest of Honor (1971) - Agatha Dwiggins
1972
The Partridge Family (TV Series) as
Mrs. Monahan
- My Heart Belongs to a Two Car Garage (1972) - Mrs. Monahan
1971
The Bold Ones: The New Doctors (TV Series) as
Nurse Klein
- The Convicts (1971) - Nurse Klein
1971
Congratulations, It's a Boy! (TV Movie) as
Rose
1968
Julia (TV Series) as
Mrs. Bennett
- Anyone for Tenants? (1971) - Mrs. Bennett
- Kids Is a Four-Letter Word (1971) - Mrs. Bennett
- You Can't Beat Drums (1969) - Mrs. Bennett
- Paint Your Waggedorn (1968) - Mrs. Bennett
1971
Love Hate Love (TV Movie) as
Mary Blunden
1970
Medical Center (TV Series) as
Mrs. Hersey
- Witch Hunt (1970) - Mrs. Hersey
1970
Bracken's World (TV Series) as
Joan (Film Editor) / Joan Elliot
- The Mary Tree (1970) - Joan (Film Editor)
- Together Again, for the Last Time (1970) - Joan Elliot
1970
Tora! Tora! Tora! as
Cornelia
1970
Nanny and the Professor (TV Series) as
Mrs. Winslow
- Nanny Will Do (1970) - Mrs. Winslow (uncredited)
1969
The Comic as
Nurse
1969
Daniel Boone (TV Series) as
Varna Montgomery
- A Tall Tale of Prater Beaseley (1969) - Varna Montgomery
1968
The Felony Squad (TV Series) as
Mrs. Foster
- The Deadly Innocents (1968) - Mrs. Foster
1968
The Mothers-In-Law (TV Series) as
Elaine
- Herb's Little Helpers (1968) - Elaine
1966
Gidget (TV Series) as
Hannah
- Take a Lesson (1966) - Hannah
1966
The Addams Family (TV Series) as
Eleanor Digby
- Morticia, the Decorator (1966) - Eleanor Digby
1966
Dr. Kildare (TV Series) as
Evelyn Driscoll / Nurse Evelyn Driscoll
- Some Tales for Halloween (1966) - Evelyn Driscoll (uncredited)
- A Few Hearts, a Few Flowers (1966) - Evelyn Driscoll
- Never So Happy (1966) - Nurse Evelyn Driscoll
- The Last to Believe in Miracles (1966) - Nurse Evelyn Driscoll
- The Atheist and the True Believer (1966) - Evelyn Driscoll
1962
Perry Mason (TV Series) as
Rose Carol / Sylvia Dykes
- The Case of the Bullied Bowler (1964) - Rose Carol
- The Case of the Melancholy Marksman (1962) - Sylvia Dykes
1964
The Magical World of Disney (TV Series) as
Mrs. Jarkey
- Bristle Face: Part 2 (1964) - Mrs. Jarkey
- Bristle Face: Part 1 (1964) - Mrs. Jarkey
1963
Gidget Goes to Rome as
Mrs. Lawrence
1962
The Swingin' Maiden as
Miriam Fisher
1954
The United States Steel Hour (TV Series) as
Eva Dulaney / Sadie Merrick / Virginia Purdy
- Farewell to Innocence (1962)
- Tangle of Truth (1961) - Eva Dulaney
- Game of Hearts (1960)
- Little Tin God (1959) - Sadie Merrick
- Goodbye- But It Doesn't Go Away (1958)
- One for the Road (1954) - Virginia Purdy
- Goodbye- But It Doesn't Go Away (1954)
1962
Mister Ed (TV Series) as
Martha Harper
- Ed, the Matchmaker (1962) - Martha Harper
1961
Force of Impulse as
Louise Reese
1961
Gidget Goes Hawaiian as
Dorothy Lawrence
1960
Play of the Week (TV Series) as
Lucy
- Uncle Harry (1960) - Lucy
1960
The DuPont Show with June Allyson (TV Series) as
Millie Moon
- A Thief or Two (1960) - Millie Moon
1960
The Ann Sothern Show (TV Series) as
Helen
- The Girls (1960) - Helen
1960
Overland Trail (TV Series) as
Jennifer Dean
- Most Dangerous Gentleman (1960) - Jennifer Dean
1959
The Further Adventures of Ellery Queen (TV Series)
- The Chemistry Set (1959)
1956
Matinee Theatre (TV Series)
- Almost Any Man Will Do (1957)
- The Old Payola (1956)
1957
My Man Godfrey as
Molly
1957
Sweet Smell of Success as
Sally
1957
Destination 60, 000 as
Ruth Buckley
1957
The Guns of Fort Petticoat as
Mary Wheller
1957
Mr. Adams and Eve (TV Series) as
Adele
- You Can't Go Home Again (1957) - Adele
1956
Playhouse 90 (TV Series) as
Sylvia
- Sincerely, Willis Wade (1956) - Sylvia
1956
Studio 57 (TV Series)
- Swing Your Partner, Hector (1956)
1956
Ethel Barrymore Theater (TV Series)
- Mimsel's Man (1956)
- The Peabody's (1956)
1956
Magnificent Roughnecks as
Julie
1956
The George Gobel Show (TV Series) as
Alice
- Howard McNear (1956) - Alice
1955
Climax! (TV Series) as
Kay Matheson
- No Stone Unturned (1955) - Kay Matheson
1955
Crown Theatre with Gloria Swanson (TV Series)
- The Antique Shop (1955)
1954
Meet the O'Briens (TV Movie)
1954
Waterfront (TV Series) as
Marilyn Carr
- Troubled Waters (1954) - Marilyn Carr
1953
Schlitz Playhouse (TV Series) as
Marlene / Pug
- Captain in Command (1954) - Marlene
- Girl of My Dreams (1953) - Pug
1954
Massacre Canyon as
Cora
1954
The Ford Television Theatre (TV Series) as
Doris
- The Taming of the Shrewd (1954) - Doris
1953
Omnibus (TV Series) as
Helen (segment "The Horn Blows at Midnight")
- The Horn Blows at Midnight (1953) - Helen (segment "The Horn Blows at Midnight")
1953
The Courtship of Miles Standish (TV Movie)
1953
Flight Nurse as
Lt. Ann Phillips
1953
So This Is Love as
Henrietta Van Dyke
1953
The Blue Gardenia as
Sally Ellis
1953
Cavalcade of America (TV Series) as
Ann Rutledge
- New Salem Story (1953) - Ann Rutledge
1952
Racket Squad (TV Series)
- The Label Switchers (1952)
1952
Because You're Mine as
Patty Ware
1952
Skirts Ahoy! as
Lt. Giff
1952
Thief of Damascus as
Sheherazade
1952
Rebound (TV Series) as
Annie
- It Wouldn't Be Fair - Annie
1952
The First Time as
Donna Gilbert
1951
The Bigelow Theatre (TV Series)
- Make Your Bed (1951)
1951
Three Guys Named Mike as
Alice Raymend
1950
Walk Softly, Stranger as
Gwen
1950
Redwood Forest Trail as
Julie Westcott
1950
The Fuller Brush Girl as
Jane Bixby
1950
Big Timber as
Sally
1950
Hoedown as
Vera Wright
1950
In a Lonely Place as
Sylvia Nicolai
1949
Post Office Investigator as
April Shaughnessy
1949
Easy Living as
Penny McCarr
1949
Outcasts of the Trail as
Vinnie White
1949
Stagecoach Kid as
Jessie Arnold
1949
Roughshod as
Elaine
1947
Screen Snapshots: My Pal, Ringeye (Short) as
Jeff Donnell
1947
Mr. District Attorney as
Miss Miller
1946
It's Great to Be Young as
Georgia Johnson
1946
Singing on the Trail as
Cindy Brown
1946
Cowboy Blues as
Susan Nelson
1946
The Unknown as
Nina Arnold
1946
That Texas Jamboree as
Jean Warren
1946
The Phantom Thief as
Anne Parks Duncan
1946
Night Editor as
Martha Cochrane
1946
Throw a Saddle on a Star as
Judy Lane
1946
Tars and Spars as
Penny McDougal
1945
Song of the Prairie as
Penelope 'Penny' Stevens
1945
Over 21 as
Jan Lupton
1945
A Thousand and One Nights as
Harem Girl (uncredited)
1945
The Power of the Whistler as
Francie
1945
Eadie Was a Lady as
Pamela 'Pepper' Parker
1944
Carolina Blues as
Charlotte Barton
1944
Dancing in Manhattan as
Julie Connors
1944
Three Is a Family as
Hazel Whittaker
1944
Mr. Winkle Goes to War as
USO Hostess (uncredited)
1944
Sensations of 1945 as
Young Girl (uncredited)
1944
She's a Soldier Too as
Mary Fleming (uncredited)
1944
Stars on Parade as
Mary Brooks
1944
Once Upon a Time as
Girl from Brooklyn (uncredited)
1944
Nine Girls as
'Butch' Hendricks
1943
There's Something About a Soldier as
Jean Burton
1943
Doughboys in Ireland as
Molly Callahan
1943
What's Buzzin', Cousin? as
Billie
1942
A Night to Remember as
Anne Stafford Carstairs
1942
The Boogie Man Will Get You as
Winnie Slade (as Miss Jeff Donnell)
1942
My Sister Eileen as
Helen Loomis (as Miss Jeff Donnell)
Soundtrack
1946
Throw a Saddle on a Star ("The Strawberry Blonde on the Strawberry Roan") / (performer: "Bonnie Bonnie Braes of Wyoming")
Self
1985
All-Star Party for 'Dutch' Reagan (TV Special) as
Self (uncredited)
1965
Girl Talk (TV Series) as
Self
- Episode dated 26 August 1965 (1965) - Self
1964
The Tonight Show Starring Johnny Carson (TV Series) as
Self - Guest
- Henny Youngman, Kaye Ballard, Jeff Donnell (1965) - Self - Guest
- Lorne Greene, Alan King, Marya Mannes, Jeff Donnell (1964) - Self - Guest
1963
Your First Impression (TV Series) as
Self
- Episode dated 31 July 1963 (1963) - Self
1961
Here's Hollywood (TV Series) as
Self
- Episode #1.115 (1961) - Self
1960
It Happened in Hollywood (TV Series documentary)
- The Western (1960)
1954
The George Gobel Show (TV Series) as
Self / Self - Alice / Self - Mrs. Hunter
- Johnny Mathis, Gertrude Berg (1958) - Self
- Phil Harris, Eddie Fisher, Peggy King, Trudy Wood, the Baird Puppets (1957) - Self - Alice
- Vincent Price, Marguerite Piazza (1956) - Self
- Phil Harris, Joanne Gilbert (1956) - Self
- Fred MacMurray (1956) - Self
- Fred MacMurray (1956) - Self
- John McGiver (1956) - Self
- Arthur Treacher (1956) - Self
- Spring Byington, Margaret Truman (1956) - Self
- Howard McNear (1956) - Self
- Tony Curtis, George Winslow, Donald Keeler, the Mitchell Boys Choir (1956) - Self
- Cast concert (1956) - Self
- Pat Buttram (1956) - Self
- Shirley MacLaine (1956) - Self
- Nat Pendleton (1956) - Self - Alice
- Eddie Mayehoff (1956) - Self
- Richard Greene (1956) - Self
- Charlton Heston (1956) - Self - Alice
- Gilbert & Peggy Wright, Harry Anderson (1956) - Self
- Ernest Borgnine (1956) - Self
- Alan Mowbray (1956) - Self
- Bennett Cerf (1956) - Self
- Henry Fonda, Paul Anderson (1956) - Self
- Elsa Lanchester (1956) - Self
- Jan Sterling, Wally Brown (1955) - Self
- Ed Wynn (1955) - Self
- David Burns (1955) - Self
- Evelyn Russell (1955) - Self
- Tennessee Ernie Ford (1955) - Self
- Leo Duroucher (1955) - Self
- Tennessee Ernie Ford (1955) - Self
- Hans Conried (1955) - Self
- George Brent (1955) - Self
- Fred MacMurray (1955) - Self
- Fred MacMurray, "Spanky" MacFarland (1955) - Self
- Peter Lorre, Nat Pendleton (1955) - Self
- Ludwig Stossel, Julius Tannen (1955) - Self - Alice
- Garry Moore (1955) - Self - Alice
- Adolphe Menjou (1955) - Self
- Jack Benny (1955) - Self
- James Stewart (1955) - Self
- The Jack Shafton Puppets (1955) - Self
- Walter Brennan (1955) - Self
- Vampira (1955) - Self
- Leigh Snowden, Mara Corday, Dani Crayne (1955) - Self
- Bob Feller (1955) - Self
- Kirk Douglas (1955) - Self
- Buddy Baer (1955) - Self
- Claude Stroud (1955) - Self
- Jeffrey Hunter (1955) - Self - Mrs. Hunter
- Jackie Cooper (1955) - Self
- George Liberace, Barbara Britton (1955) - Self
- Tennessee Ernie Ford (1955) - Self
- New Year's Day (1955) - Self
- William Gargan (1954) - Self
- Edward Everett Horton (1954) - Self
- Faye Emerson, Julius Tannen (1954) - Self
- Charles Coburn (1954) - Self
- Vera Vague (1954) - Self
- Boris Karloff (1954) - Self
- Marilyn Maxwell, Pat Carroll, El Brendell (1954) - Self
- Jack Carson (1954) - Self
- Angela Lansbury (1954) - Self
1957
The Dinah Shore Chevy Show (TV Series) as
Self
- Guest hosts: Pat Boone & Shirley MacLaine; guest stars: George Gobel, Gisele MacKenzie, Jeff Donnell (1957) - Self
1955
Place the Face (TV Series) as
Self - Guest
- Episode #3.1 (1955) - Self - Guest
1955
Shower of Stars (TV Series) as
Self - Actress
- High Pitch (1955) - Self - Actress
1953
Stump the Stars (TV Series) as
Self
- Dick Erdman, Jeff Donnell, Lynn Bari, Jimmy Lydon, John Drew Barrymore, Angela Lansbury, Dave Willock, Jackie Coogan (1953) - Self
1951
The Alan Young Show (TV Series) as
Self
- Episode dated 13 April 1951 (1951) - Self
1946
Screen Snapshots: The Skolsky Party (Documentary short) as
Self
Archive Footage
2001
History vs. Hollywood (TV Series documentary) as
Cornelia Clark Fort
- Tora! Tora! Tora! A Giant Awakes (2001) - Cornelia Clark Fort
References
Jeff Donnell Wikipedia
(Text) CC BY-SA
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https://www.latimes.com/archives/la-xpm-1991-03-28-mn-1448-story.html
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en
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Aldo Ray; Raspy-Voiced Actor Played Toughs, Soldiers in Wide Range of Films
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[
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[
"BURT A. FOLKART"
] |
1991-03-28T00:00:00
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Aldo Ray, the bull-necked, foghorn-voiced actor who brought arrogance, brawn and a brash talent to films ranging from the significant to the mundane, died Wednesday.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-1991-03-28-mn-1448-story.html
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Aldo Ray, the bull-necked, foghorn-voiced actor who brought arrogance, brawn and a brash talent to films ranging from the significant to the mundane, died Wednesday.
Ray, who portrayed rednecks, gangsters and warriors in a wide-ranging career, was 64 and died of throat cancer at the Veterans Administration Hospital in Martinez in Northern California.
Sheila Cullen, the hospital’s associate director, said he had been admitted Feb. 19.
A former constable in the small Bay Area town of Crockett, Ray came to acting on a fluke.
He had driven his brother to an audition for football players being sought for the film “Saturday’s Hero.” Ray was at the end of what proved a successful campaign for constable. Asked if he would like to read for a part, he delivered a campaign speech instead.
When the film executives heard his raspy vocalizing, which on its best days verged on laryngitis, he was told to go home until he felt better.
“I told them that was the way I always spoke and they loved it,” he told The Times in 1981 as he was struggling to resume his career after an alcohol problem.
He appeared in “Saturday’s Hero,” a 1951 attack on America’s approach to sports, had his option renewed and was reluctantly lured by the money to abandon law enforcement for acting.
He was cast opposite Judy Holliday in “The Marrying Kind,” and the former World War II Navy frogman became an immediate success.
He went on to portray enlisted men in such combat epics as “Battle Cry,” “Men in War,” “What Did You Do in the War Daddy?” and “The Naked and the Dead,” a 1958 film in which he played Norman Mailer’s Sgt. Croft. Ten years later he was back in action in John Wayne’s “The Green Berets,” his last role in a major motion picture.
“In some ways the tough soldier role locked me in,” Ray said in an interview last November. “There were no sophisticated roles for me. I never seemed to get past master sergeant, although I always thought of myself as upper echelon.”
Born Aldo Da Re, he appeared in many nonmilitary roles in such solid productions as “Pat and Mike,” “We’re No Angels,” “The Day They Robbed the Bank of England” and “God’s Little Acre.” One of his most popular roles was as the jovial Sgt. O’Hara, who won Rita Hayworth’s heart in “Miss Sadie Thompson.”
He was invited to Great Britain to film there--a move he described as a mistake because of the caliber of parts he was offered--then returned to the United States to launch a self-described comeback.
But by that time he had experienced three failed marriages (one in 1954 to actress Jeff Donnell) and was deeply in debt. He told The Times that all he had earned for his first 10 years of film work was $100,000.
He made some investments that did not help materially, appeared (fully clothed) in a skinflick and even considered returning to politics.
Although he maintained that drinking did not affect his career, he admitted that “producers get scared by that.”
In 1983, Ray returned to Crockett, about 40 miles northeast of San Francisco, and found an occasional role in films or TV.
“I still do bits and pieces,” he said. “They like to use my name.”
But he never fulfilled the promise of his early years and admitted that he was disappointed by his career.
“I think I should have gotten a lot more good stuff,” he said.
His survivors include a daughter and two sons, one of whom, Eric Da Re, played Leo Johnson, the crazed wife-beater in the television series “Twin Peaks.”
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