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OldMovieMaven last won the day on July 4 2012

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    Maureen O'Hara, star of "The Quiet Man," dies at 95 Maureen O'Hara with John Wayne in "The Quiet Man" (1952). The Irish-born actress, a frequent co-star of Wayne's, also appeared in such classics as "How Green Was My Valley," "Miracle on 34th Street," and "The Parent Trap." REPUBLIC PICTURES

    Judy Carne, ‘Laugh-In’s’ ‘Sock it to Me’ Girl, Dies at 76 EMAILPRINT 1TALK MOVIESTORE COLLECTION/REX SEPTEMBER 7, 2015 | 12:17PM PT Alex Stedman News Editor, Variety.com@a_sted Actress Judy Carne, best known for being the “Sock it to me!” girl on “Rowan & Martin’s Laugh-In” in the ’60s, died on Sept. 3, according to the Telegraph. She was 76. Carne rose to overnight fame with her appearances on “Laugh-In,” where the bouncy actress’ zany persona would be doused with water every time she uttered the phrase “Sock it to me,” accidentally or not. She acted on the sketch comedy show for two years, making the occasional appearance in the third season. Carne was also known for her tumultuous relationship with Burt Reynolds. She was the actor’s first wife, marrying him in 1963 before they divorced in 1965. She detailed their relationship, confessing to partaking in several affairs and struggling with drug addiction, in her 1985 autobiography “Laughing on the Outside, Crying on the Inside: The Bittersweet Saga of the Sock-It-To-Me Girl.” She battled heavily with drug addiction after leaving “Laugh-In,” being charged with heroin possession and prescription forgery in the late ’70s. She was acquitted of the heroin charge. The actress was born near Northampton, Northamptonshire, England, and trained at the Bush Davies Theatrical School for Girls at East Grinstead as a child. Her first television appearance came in 1956, in “The First Day of Spring.” Carne went on to serve as a panelist on “Juke Box Jury” and also appeared on sitcom “The Rag Trade,” as well as the 1962 comedy film “A Pair of Briefs.” Her other TV credits include a regular role in sitcom “Fair Exchange,” “The Baileys of Balboa,” a starring role in sitcom “Love on a Rooftop” and appearances in “The Man From U.N.C.L.E.”
  3. This is sad to me. I grew up watching this show and thought the supporting actors/characters were great. Lumpy and Eddie Haskell were the type of kids that almost everyone knew. The BEAVER creators (sounds odd) really gave us some memorable performances. Thanks for posting this, Mary.
  4. Maria Tallchief Dead: New York Ballet Legend Dies At 88By CARYN ROUSSEAU 04/12/13 03:06 PM ET EDT Tallchief, one of America's first great prima ballerinas who gave life to such works as "The Nutcracker," "Firebird," and other masterpieces from legendary choreographer George Balanchine, has died. She was 88. Tallchief died Thursday in Chicago, her daughter, Elise Paschen, said Friday. Tallchief danced with the Ballet Russe de Monte Carlo from 1942 to 1947, but her career was most associated with the New York City Ballet, where she worked from 1948 to 1965. Balanchine, the Russian-born dance genius, was not only the company's director; in 1946, he became Tallchief's husband for some years. She told Women's Wear Daily in 2003 that when she first worked with Balanchine she thought, "`I am seeing music. This is it!' I was a musician myself, and I thought, `I am in my place now.' I knew that that's the way I wanted to dance." Tallchief was one of five Oklahoma natives of American Indian descent who rose to prominence in the ballet world from the 1940s through the 1960s. She retired in 1965, when she started teaching the next generation of dancers. "My mother was a ballet legend, who was proud of her Osage heritage," Paschen said in a statement. "Her dynamic presence lit up the room. I will miss her passion, commitment to her art and devotion to her family. She raised the bar high and strove for excellence in everything she did." Tallchief created roles in many of Balanchine's ballets, including "Orpheus," in 1948, and "Scotch Symphony," in 1952. She was the Sugar Plum Fairy in his original production of "The Nutcracker" in 1954. Jacques d'Amboise, a former New York City Ballet dancer who partnered with Tallchief in many performances, said she was the Mount Everest of dance. "She was the perfect representative of the American ballerina," said d'Amboise, who with the National Dance Institute in New York. "There is one word for her: Grand. She was absolutely grand." In the 1970s, Tallchief served as artistic director of the Lyric Opera Ballet in Chicago. She later funded and was artistic director of the Chicago City Ballet. Kenneth von Heidecke, founder of the Chicago Festival Ballet, studied under Tallchief during the 1970s in Chicago. Tallchief was an honorary artistic adviser with the ballet. He said he owed Tallchief his career because of her meticulous training. "She would teach classical ballet not just technically ... but she would go beyond that and tell you how the laws of physics help you achieve great elevation or great velocity," von Heidecke said. In 1996, Tallchief became one of five artists to receive the Kennedy Center Honors for their lifelong contributions to American culture. Tallchief was born Elizabeth Marie Tall Chief in 1925, on a reservation in Fairfax, Okla., a small town about 60 miles northwest of Tulsa. Visiting teachers gave her lessons, and her mother later moved the family to Los Angeles so that she and her sister could receive additional training. Tallchief's sister, Marjorie Tallchief, became the first American ballerina to join the permanent star roster of the Paris Opera Ballet. In her 2005 memoir, "Maria Tallchief: America's Prima Ballerina," Tallchief wrote that her first ballet lesson was in the basement of the Broadmoor Hotel in Colorado Springs, Colo., when she was 3-years-old. "What I remember most is that the ballet teacher told me to stand straight and turn each of my feet out to the side, the first position," Tallchief wrote. "I couldn't believe it. But I did what I was told." Ashley Wheater, artistic director with Chicago's Joffrey Ballet, said Tallchief served as a role model to future dancers. "She's an inspiration for young kids today that come from all different ethnic backgrounds to know that they too can have that opportunity," Wheater said. ___ AP writer Jocelyn Noveck contributed to this report from New York.

    Western Character Actor Harry Carey Jr. Dies at 91 Actor Harry Carey, Jr., is shown in character from the film, "She Wore A Yellow Ribbon," in this 1940s publicity photo. (SCVHistory.com/AP Photo) By By DERRIK J. LANG AP Entertainment Writer LOS ANGELES December 29, 2012 (AP) Harry Carey Jr., a character actor who starred in such Westerns as "3 Godfathers" and "Wagon Master," has died. He was 91. His daughter, Melinda Carey, said he died Thursday of natural causes surrounded by family at a hospice facility in Santa Barbara, Calif. "He went out as gracefully as he came in," she said Friday. Carey's career spanned more than 50 years and included such John Ford classics as "She Wore a Yellow Ribbon," ''The Searchers" and "The Long Gray Line." Later in life, he appeared in the movies "Gremlins" and "Back to the Future Part III." His memoir, "Company of Heroes: My Life as an Actor in the John Ford Stock Company," was published in 1994. SCVHistory.com/AP Photo Actor Harry Carey, Jr., is shown in character... View Full Size SCVHistory.com/AP Photo Actor Harry Carey, Jr., is shown in character from the film, "She Wore A Yellow Ribbon," in this 1940s publicity photo. While he lacked the leading-man stature of longtime friend and co-star John Wayne, Carey's boyish looks and horse-riding skills earned him roles in many of Ford's films. He and fellow character Ben Johnson famously learned to stand simultaneously on two galloping horses — a trick known as roman riding — for the 1950 film "Rio Grande" starring Wayne. "My journey has been that of a character actor," he wrote in his memoir. "I've worked with the great and the not-so-great. But mostly I've worked with men and women who loved their profession, and who like me, had kids to raise and houses to pay for." Carey was the son of silent-film Western star Harry Carey Sr. and actress Olive Carey. He was born on May 16, 1921, on his family's ranch and graduated from Hollywood's Black-Foxe Military Institute. During World War II, he served in the Navy and worked with Ford on films for the Navy. He is survived by his wife, a son, two daughters, three grandchildren and two great-grandchildren.

    Turhan Bey, Actor With Continental Charm, Dies at 90 By DENNIS HEVESI Turhan Bey, whose dark good looks, swept-back hair and soothing, Continental voice brought him fame in swashbuckling films of the 1940s, died in Vienna on Sept. 30. Mr. Bey, who was a fashion photographer in his later years, was 90. Enlarge This Image Turhan Bey in a publicity photo from "Ali Baba and the Forty Thieves," in 1944. Marita Ruiter, who exhibited his photos in her gallery in Luxembourg, told the Austria Press Agency that the cause was Parkinson’s disease. The son of a Turkish father and a Jewish mother from Czechoslovakia, Mr. Bey was repeatedly described as “exotic” at the height of his popularity and has been referred to as “the Turkish delight.” Particularly during World War II, when many of Hollywood’s leading men were in the military, he was frequently seen in movie magazines, often in safari clothes. “He has brought a new personality type to the screen,” Screen Guide magazine wrote of him in 1944. “He is cultured, suave and inscrutable — made to order for moviegoers.” Mr. Bey, who appeared in more than 30 movies, is perhaps best known for his roles in the “Arabian Nights” series, including (1942), “Ali Baba and the Forty Thieves” (1944), “Sudan” (1945) and “Night in Paradise” (1946) — often opposite Jon Hall, Sabu and another actor widely viewed as exotic, Maria Montez.When “Sudan,” a romantic adventure about a princess whose life and throne are saved by the leader of liberated slaves, was released, Bosley Crowther wrote in The New York Times, “Turhan Bey gives a boyish imitation of Rudolph Valentino as the desert sheik.” Among Mr. Bey’s many other movies were “The Mummy’s Tomb” (1942), “Drums of the Congo” (1942), “White Savage” (1943), “Adventures of Casanova” (1948) and “Prisoners of the Casbah” (1953). Mr. Bey’s career began to fade after the likes of Clark Gable and Robert Taylor came home from military service. He returned to his native Vienna in the mid-1950s, and to his childhood passion, photography. But four decades later, after attending an American Cinema Awards banquet in Hollywood, he decided to step in front of the camera again. He had a guest role on “Murder, She Wrote,” a co-starring role in the 1993 movie “Healer” and a leading role in the science-fiction television series “Babylon 5.” Turhan Selahattin Sahultavy was born in Vienna on March 30, 1922. His father was a Turkish military attaché assigned to Austria, where he met the woman who would become his wife. After the parents divorced, the child and his mother left Austria to escape the Nazis, eventually arriving in Los Angeles. No immediate family members survive. In 1941, after Mr. Bey enrolled in classes to improve his English, his teacher asked him to take part in a play he was staging. A Warner Brothers talent scout happened to be in the audience. He was soon signed to a contract as Turhan Bey. “It was quite wonderful in those years,” he told The Toronto Star in 1991. “One was young and good-looking, and it seems those were the very two things everyone was looking for.”
  7. I guess Robert Stack wasn't as "untouchable" as I thought.
  8. http://www.tmz.com/2012/08/20/phyllis-diller-dead/


  11. Composer Marvin Hamlisch dies at age 68

    What will Jerry do when he needs rewrites? Poor guy.

    Andrew Sarris, Influential Film Critic, Dies at 83 By MICHAEL POWELL Published: June 20, 2012 27 Comments Andrew Sarris, one of the nation’s most influential film critics and a champion of auteur theory, which holds that a director’s voice is central to great filmmaking, died on Wednesday in Manhattan. He was 83. His wife, the film critic Molly Haskell, said the cause was complications of an infection developed after a fall. Courtly, incisive and acerbic in equal measure, Mr. Sarris came of critical age in the 1960s as the first great wave of foreign films washed ashore in the United States. From his perch at The Village Voice, and later at The New York Observer, he wrote searchingly of that glorious deluge and the directors behind it — François Truffaut, Max Ophuls, Jean-Luc Godard, Michelangelo Antonioni, Ingmar Bergman, Akira Kurosawa. Film criticism had reached a heady pitch amid the cultural upheavals of that time, and Mr. Sarris’s temperament fit that age like a glove on a fencer’s hand. He took his place among a handful of stylish and congenitally disputatious critics: Pauline Kael, Stanley Kauffmann, John Simon and Manny Farber. They agreed on just a single point: that film was art worthy of sustained thought and argumentation. “We were so gloriously contentious, everyone bitching at everyone,” Mr. Sarris recalled in a 2009 interview with The New York Times. “We all said some stupid things, but film seemed to matter so much. “Urgency” — his smile on this point was wistful — “seemed unavoidable.” Mr. Sarris played a major role in introducing Americans to European auteur theory, the idea that a great director speaks through his films no less than a master novelist speaks through his books. A star actor might transcend a prosaic film, Mr. Sarris said, but only a director could bring to bear the coherence of vision that gives birth to great art. He argued that more than a few of Hollywood’s own belonged in the pantheon — including Orson Welles, John Ford, Howard Hawks and Sam Fuller, not to mention a British director whom purists had dismissed as a mere “commercial” filmmaker, Alfred Hitchcock — and he championed them. Mr. Sarris also embraced, albeit with an occasional critical slap about their heads, younger Turks like Martin Scorsese, Robert Altman and Francis Ford Coppola. “We were cowed into thinking that only European cinema mattered,” Mr. Scorsese, who once shared a closet-size office in Times Square with Mr. Sarris, said in a 2009 interview. “What Andrew showed us is that art was all around us, and that our tradition, too, had much to offer; he was our guide to the world of cinema.” Mr. Sarris’s book “The American Cinema: Directors and Directions 1929-1968” stands as his opus. If Ms. Kael more often won points as the high stylist, Mr. Sarris’s métier was cerebral and analytic, interested always in the totality of a film’s effect on its audience and in the sweep of a director’s career. He opened his essay on Fritz Lang, the Austrian-born director, this way: “Fritz Lang’s cinema is the cinema of the nightmare, the fable, and the philosophical dissertation. Mr. Lang’s apparent weaknesses are the consequences of his virtues. He has always lacked the arid sophistication lesser directors display to such advantage.” Andrew Sarris was born in Brooklyn on Oct. 31, 1928, to Greek immigrant parents, George and Themis Sarris, and grew up in Ozone Park, Queens. His romance with movies was near to imprinted in his DNA. He remembered sitting in a darkened theater at the age of 3 or 4 entranced by a movie based on a Jules Verne story. “The liquidity of the scene and the film,” he recalled, “was truly magical, especially to someone not many years out of the womb himself.” He attended John Adams High School in Queens, his time there overlapping for a year or two with the newspaper columnist Jimmy Breslin’s. But his concerns lay elsewhere. He recalled, as a teenager, sitting in his Queens aerie, listening to the Academy Awards and the New York Film Critics award ceremonies, and developing his ideas, idiosyncratic and polemical, on film. He graduated from Columbia College in 1951 and served three years in the Army Signal Corps. He returned to live with his mother — his father had died — in Queens, passing his post-college years in “flight from the laborious realities of careerism,” as he put it. On one such footloose outing he passed a year in Paris, drinking coffee and talking with the New Wave directors Mr. Godard and Mr. Truffaut, who were the first to champion auteur theory. (Later, in the United States, he would edit an English-language edition of the influential auteurist magazine Cahiers du Cinema.) Always his love affair with movies sustained him. He recalled sitting through four dozen showings of “Gone With the Wind,” as besotted with Vivien Leigh on the 48th viewing as on the first. He began to write for Film Culture, a cineaste outpost in the East Village. But he was restless. He was 27, which he described as “a dreadfully uncomfortable age for a middle-class cultural guerrilla.” In 1960, this self-consciously bourgeois man persuaded the editors of the The Village Voice to let him review films. He quickly asserted his intellectual writ; in his first review he tossed down the gauntlet in defense of Alfred Hitchcock and “Psycho.” “Hitchcock is the most daring avant-garde filmmaker in America today,” Mr. Sarris wrote. “Besides making previous horror films look like variations of ‘Pollyanna,’ ‘Psycho’ is overlaid with a richly symbolic commentary on the modern world as a public swamp in which human feelings and passions are flushed down the drain.” To praise a commercial director like Mr. Hitchcock in the haute bohemian pages of The Voice was calculated incitement. Letter writers demanded that the editors sack this philistine. The editors instead embraced Mr. Sarris as a controversialist; argument was like mother’s milk at The Village Voice. And he survived to review films there for 29 more years. In defense of his favorites he was ardent; but to those who failed to measure up, he applied the lash. John Huston? “Less than meets the eye.” Stanley Kubrick? “His faults have been rationalized as virtues.” And Michelangelo Antonioni took such a grim and alienated turn that Mr. Sarris, who had admired him, referred to him as “Antoniennui.” In 1966, at a screening of Kenneth Anger’s “Scorpio Rising,” Mr. Sarris noticed an attractive young woman, Ms. Haskell. He wandered over. “He had this courtly-as-learned-from-the-movies manner,” Ms. Haskell recalled. “Afterward he took me out for a sundae at Howard Johnson.” They married in 1969. She and Mr. Sarris, who died at St. Luke’s Hospital, lived on the Upper East Side of Manhattan. Ms. Haskell is his only immediate survivor. A younger brother, George Sarris, died at age 28 in a 1960 skydiving accident. Andrew Sarris gained renown as an intellectual duelist, battling most spectacularly with Ms. Kael, who wrote for The New Yorker. She delighted in lancing the auteurists as a wolf pack of nerdy and too-pale young men. Mr. Sarris returned the favor, slashing at her as an undisciplined hedonist. Devotees of the two critics, in Sharks-vs.-Jets fashion, divided themselves into feuding camps called the Sarristes and the Paulettes. A rough cordiality attended to the relationship between Mr. Sarris and Ms. Kael, but that is not to overstate their détente. When Mr. Sarris married Ms. Haskell in 1969, the couple invited Ms. Kael. “That’s O.K.,” Ms. Kael replied. “I’ll go to Molly’s next wedding.” In another celebrated exchange of critical detonations, the often acidic John Simon wrote in The Times in 1971 that “perversity is certainly the most saving grace of Sarris’s criticism, the humor being mostly unintentional.” To which Mr. Sarris replied, “Simon is the greatest film critic of the 19th century.” Besides writing about film, Mr. Sarris taught the subject, chiefly as a film professor at Columbia University’s School of the Arts but also variously at Yale University, Juilliard and New York University, among other institutions. He obtained his master’s from Columbia University in 1998. And he continued to write on a typewriter into old age, eschewing a computer. For all the fierceness of his battles — he once took a poke at his former student and fellow Voice reviewer J. Hoberman, saying he was “freaking out on art-house acid” — he remained remarkably open to new experience. Told once that Mr. Kubrick’s “2001: A Space Odyssey” worked better under the influence of marijuana, he cadged a joint, went to the movie and found it a very different and agreeable experience. Asked a few years ago if he had soured on any of the directors he once championed, Mr. Sarris smiled and shook his head. “I prefer to think of people I missed the boat on,” he said. http://www.nytimes.com/2012/06/21/movies/andrew-sarris-film-critic-dies-at-83.html?_r=1&pagewanted=all
  13. I believe that Mort Lindsey was Judy Garland's conductor when Jerry filled in for her in Las Vegas. Mort Lindsey, Judy Garland's orchestra director for famed Carnegie Hall concert, dies at 89 Orchestra leader Mort Lindsey, who conducted for Judy Garland during the early 1960s (including her famous Carnegie Hall concert) died May 4, reports Reuters. Lindsey, 89, suffered long-declining health and recently broke his hip. In addition to the Carnegie Hall concert, Lindsey conducted The Judy Garland Show in 1963-64, as well as Garland's final film, I Could Go on Singing. He won an Emmy for Barbra Steisand's TV special, A Happening in Central Park and also worked with Garland's daughter, Liza Minnelli, in her award-winning TV concert, Liza With a Z. For 25 years, Lindsey also was musical director for The Merv Griffin Show Read more here: http://miamiherald.typepad.com/gaysouthflorida/2012/05/mort-lindsey-judy-garlands-orchestra-director-for-famed-carnegie-hall-concert-dies-at-89.html#storylink=cpy
  14. Lewis The Love Guru

    Although with Sammy, both Dean and Jerry said, "I'd like to thank the NAACP for this award". Maven
  15. For Dino fans only

    Uncle Raoul- What a tough question. Like trying to pick my favorite Jerry movie (I've changed the one on my profile a couple of times and will probably change it again). I love the Martin & Lewis era Dean. And I remember that we had some of his singles (78's) but the albums from my youth that I remember most would be "This Time I'm Swingin'", "Italian Love Songs" and his Christmas albums. Whenever I hear them, it brings back such great memories of listening to these albums with my family. My parents loved Dean and we went to every movie as a family. RIO BRAVO was a great treat. Not only Dean, but John Wayne too. That combo couldn't be beaten for this young Texan. I think Dean is underrated as an actor, who held his own with greats like Brando and Montgomery Clift. Sorry for rambling. Maven