Ali Mac Graw

Elizabeth Alice “Ali” MacGraw (born April 1, 1939) is an American actress, model, author, and animal rights activist.

Ali MacGraw

Ali MacGraw


She first gained attention with her role in the 1969 film Goodbye, Columbus, for which she won the Golden Globe Award for Most Promising Newcomer. She reached international fame in 1970’s Love Story, for which she was nominated for an Academy Award for Best Actress and won the Golden Globe Award for Best Actress in a Motion Picture ‚Äď Drama.

In 1972, MacGraw was voted the top female box office star in the world and was honored with a hands and footprints ceremony at Grauman’s Chinese Theatre after having been in just three films. She went on to star in the popular action films The Getaway (1972) and Convoy (1978) as well as the romantic sports drama Players (1979), the comedy Just Tell Me What You Want (1980), and the historical novel-based television miniseries The Winds of War (1983). In 1991, she published an autobiography, Moving Pictures.

MacGraw was born in Pound Ridge, New York, the daughter of commercial artists Frances (n√©e Klein; 1901‚Äď1980)¬† and Richard MacGraw.

She has one brother, Dick, an artist. Her father was adopted. Her maternal grandparents were from Budapest, Hungary, of Jewish heritage.

MacGraw’s mother chose not to disclose her true ethnicity to her father, instead professing ignorance about it. “I think Daddy was bigoted,” MacGraw has said.

Her mother was considered a “pioneer” as an artist, who had taught school in Paris before settling in Greenwich Village.

Her parents married when her mother was 40: “My gorgeous father: a combination of Tyrone Power and a mystery, a brilliant artist and a brain beyond brains.”

He was born in New Jersey with his childhood spent in an orphanage. He ran away to sea when he was 16 and studied art in Munich. MacGraw adds, “Daddy was frightened and really, really angry. He never forgave his real parents for giving him up.”

As an adult, he constantly suppressed the rage he built up against his parents.

She described her father as “violent”.

Beginning in 1960, MacGraw spent six years working at Harper’s Bazaar magazine as a photographic assistant to fashion maven Diana Vreeland.

She worked at Vogue magazine as a fashion model, and as a photographer’s stylist. She has also worked as an interior decorator.

ALI Mac Graw

ALI Mac Graw

MacGraw started her acting career in television commercials, including one for the Polaroid Swinger camera. MacGraw gained critical notice in the 1969 film Goodbye, Columbus, but real stardom came in 1970 when she starred opposite Ryan O’Neal in Love Story, one of the highest-grossing films in U.S. history.

MacGraw was nominated for the Academy Award for Best Actress for that performance. Following Love Story, MacGraw was celebrated on the cover of Time magazine.


In 1972, after appearing in just three films, she had her footprints and autograph engraved at Grauman’s Chinese Theatre. She then starred opposite Steve McQueen in The Getaway (1972), which was one of the year’s top ten films at the box office.

Having taken a five-year break from acting, in 1978 MacGraw re-emerged in another box office hit, Convoy (1978), opposite Kris Kristofferson. She then appeared in the films Players (1979) and Just Tell Me What You Want (1980), directed by Sidney Lumet.

In 1983, MacGraw starred in the highly successful television miniseries The Winds of War.

In 1985, MacGraw joined hit ABC prime-time soap opera Dynasty as Lady Ashley Mitchell, which, she admitted in a 2011 interview, she did for the money.

She appeared in 14 episodes of the show before her character was killed off in the infamous “Moldavian wedding massacre” cliffhanger episode in 1985.

MacGraw made her Broadway theatre debut in New York City in 2006 as a dysfunctional matriarch in the drama Festen (The Celebration).

In 2016, MacGraw reunited with Love Story co-star Ryan O’Neal in a staging of A.R. Gurney’s play Love Letters.

In 1991, People magazine selected MacGraw as one of its “50 Most Beautiful People” in the World.


In 2008 GQ magazine listed her in their “Sexiest 25 Women in Film Ever” edition.

Having become a Hatha Yoga devotee in her early 50s, MacGraw produced a yoga video with the American Yoga Master Erich Schiffmann, Ali MacGraw Yoga Mind and Body.

This video was a bestseller upon release and still popular more than a decade later. The video’s impact was such that in June 2007 Vanity Fair magazine credited MacGraw with being one of the people responsible for the practice’s recent popularity in the United States.

In July 2006, MacGraw filmed a public service announcement for People for the Ethical Treatment of Animals (PETA), urging residents to take their pets with them in the event of wildfires.

In 2008, she wrote the foreword to the book Pawprints of Katrina  by author Cathy Scott and photography by Clay Myers about Best Friends Animal Society and the largest pet rescue in U.S. history.

An animal rights advocate throughout her life, she received the Humane Education Award by Animal Protection of New Mexico for speaking out about animal issues.


MacGraw has acknowledged having had an abortion in her early twenties, at a time when the procedure was illegal.

After college, she married Robin Hoen, a Harvard-educated banker, but they divorced after a year and a half.

Ali and Kris Kristofferson in Convoy

Ali and Kris Kristofferson in Convoy

On October 24, 1969, MacGraw married film producer Robert Evans; their son, Josh Evans, is an actor, director, producer and screenwriter.

They divorced in 1972 after she became involved with Steve McQueen on the set of The Getaway. She married McQueen on August 31, 1973, in Cheyenne, Wyoming, and divorced him in 1978.






MacGraw’s autobiography, Moving Pictures revealed her struggles with alcohol and sex addiction. She was treated for the former at the Betty Ford Center.


When former husband Evans received his star on the Hollywood Walk of Fame in 2002, she accompanied him. Their grandson Jackson was born in December 2010 to Josh and his wife, singer Roxy Saint.


Since 1994 she has lived in Tesuque, New Mexico, after “fleeing Malibu” when a house she was renting burned down.


Ali Mac Graw

Ali Mac Graw



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Kirk Douglas




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wild target

wild target

Victor Maynard (Bill Nighy) is an experienced and efficient assassin living a lonely life in accordance with his family’s business. Victor follows a family line of professional assassins, and he completes his assignments quickly and without remorse.

One afternoon, after killing one of his targets, he hesitates in killing the pet parrot, Roger, and instead takes him as a gift to his mother, Louisa (Eileen Atkins) an intimidating woman who was, until recently, also Victor’s housemate.

In celebration of his 55th birthday, she gives him a leather bound book with newspaper clippings of each of his kills from his first to his most recent, leaving pages for future hits to be included.

She also expresses concern that he might be homosexual, wondering why he hasn’t produced a successor.

Rose (Emily Blunt) is a not-so-average girl with a talent for thievery.

Her most recent theft involves the sale of a fake Rembrandt painting (painted by her friend in the Restoration Department of the National Gallery) to Ferguson (Rupert Everett), managing to swindle him out of £900,000.

Ferguson soon discovers the swap and hires the best hitman, Victor Maynard, to dispose of her. Victor takes the case and immediately tracks Rose down, missing several opportunities to kill her, and accidentally killing a random stall customer in a changing room.

He follows her to a balcony opposite her hotel room and tries to shoot her through the window, but is interrupted by the arrival of the front doorman.

Emily blunt

Emily blunt


Victor sets up a microphone and headset to keep her under surveillance, but falls asleep, unable to listen to their noisy lovemaking. He wakes the following morning, just as she is leaving. He has the opportunity to shoot but pauses.

His mother, Louisa, is disappointed by this missed target (and has apparently killed Roger with a knitting needle) and suggests that Victor apologize to his employer and offer to do the hit for free. He tracks Rose down in a parking garage where he sees another hitman ready to kill her. He takes the preemptive shot, killing the other assassin.

He and Rose get into her car, only to be forced out again by Mike (Gregor Fisher), another assassin hiding in the back seat of her Mini. Mike throws Victor’s gun away and lines them up on the wall to be shot and killed, but instead is wounded by Tony (Rupert Grint), an apparently homeless young man who had picked up the dead man’s gun. Saying it was his first time handling a firearm, he impresses Victor enough to consider a prot√©g√©.

But he sends Tony home and Victor and Rose flee. Mike starts firing at them and they nearly run over Tony on his way out of the garage, forcing him to join the ride.

Rose offers Victor his price of ¬£30,000 a week for her protection, believing that he is merely a private detective. They travel to a luxury hotel where they can lay low, but by chance get a room on the same floor as Ferguson. Ferguson hires Dixon (Martin Freeman), reputed to be second only to Maynard in proficiency, to kill Rose and Maynard. After several close calls, Mike, who is also Ferguson’s bodyguard, discovers their whereabouts when he spots a pair of boots that Rose had stolen from his dead partner.

Billy Nighy

Billy Nighy


Tony is ambushed in the bathroom and nearly drowned in the bathtub by Mike, but he turns the tables and accidentally shoots Mike’s ear off before the three of them escape the hotel. Ferguson and Mike pursue them in a high-speed chase through the streets of London until Mike loses control and crashes the car, sending the pair to the hospital.

They travel to Maynard’s home, an exclusive farm deep in the countryside, where his furniture is shrink-wrapped and his cat, Snowy, resides with him. Maynard takes Tony on as his apprentice in “private detective” work.

One night (after a sensual foot-massage between Victor and Rose), Rose is attacked by Louisa (Victor’s mother), who had come back to the house to finish what her son had started. He eventually talks her down and after she leaves, the three of them work on becoming friends.

Rose and Tony help Victor celebrate his birthday, and, after a brief period of sexual confusion between Tony and Maynard, Victor falls in love with and sleeps with Rose. Afterwards, his attitude becomes more friendly, and Victor peels off the plastic coverings on all of his furniture and opens up the house. Meanwhile, Rose looks around Victor’s room, finding the leather book that his mother had given him and learning that she was actually his target for assassination.



She also finds Victor’s father’s first gun, a Broomhandle Mauser, and steals it for protection. She runs out of the house after making it clear that she trusts neither Victor nor Tony, and returns to the National Gallery, only to find her friend dead and Dixon and his assistant, Fabian (Geoff Bell), waiting for her.

They quickly return to Victor’s home, and Tony and Victor gain the upper hand when Louisa appears, killing Fabian with a machine gun. Dixon withdraws the old gun Rose had taken from Victor’s room and fires at Victor. It backfires, sending the bolt into his skull. Victor, Tony and Rose bury the pair in the back yard and return to their lives.

Three years later, Victor and Rose are married with a son named Angel and Tony has moved in with them. While Angel is playing one morning, Tony comes outside asking Victor and Rose where the cat had gone off to. They look at Angel in awe as he is innocently patting soft dirt into the yard, suggesting he killed and buried the cat. Victor smiles with pride.




  • Bill Nighy¬†as Victor Maynard: A middle aged hit man who is hired by Ferguson to kill Rose after she cons Ferguson out of ¬£1,000,000. After purposely missing an opportunity to shoot Rose, Ferguson sends his henchmen to do the deed. Victor kills one henchman and injures another when he is looking for Rose and, concealing his true profession, helps her escape with the help of local¬†slacker, Tony. He adopts Tony as his apprentice and Victor realizes he’s fallen in love with Rose.
  • Emily Blunt¬†as Rose: A confident con artist who oversteps the mark when she cons Ferguson out of ¬£1,000,000 and leaves him with a convincing copy of a Rembrandt self-portrait. Realizing the danger she is in, she stays with Victor and Tony in an attempt to escape her attempted assassination. Her adventurous lifestyle takes a turn when she realizes her enjoyment of Victor’s company.
  • Rupert Grint¬†as Tony: A young man who witnesses Victor shooting Ferguson’s bodyguard and decides to stay with Victor for safety. Victor employs him as an apprentice (with Tony thinking Victor is a private detective and later, upon learning Victor is a hit man, taking it in stride) and he soon realizes he has a ‘killer instinct’.
  • Eileen Atkins¬†as Louisa Maynard: Victor’s intimidating mother who, while impressed with his profession, is concerned as to what will happen to the family business.
  • Rupert Everett¬†as Ferguson: A London gangster who hires Victor to kill Rose.
  • Martin Freeman¬†as Hector Dixon: A¬†sadistic¬†assassin who plays second-fiddle to Victor Maynard. While influenced by Victor, Dixon jumps at the opportunity given to him by Ferguson to dispose of the greatest hit-man ever known.
  • Gregor Fisher¬†as Mike: Ferguson’s incompetent henchman whose several attempts to kill Victor, Rose, and Tony leave him in hospital … and with one ear.
  • Geoff Bell¬†as Fabian: Dixon’s dull-witted partner.

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Shirley MacLaine

Shirley MacLaine (born Shirley MacLean Beaty; April 24, 1934)  is an American film, television and theater actress, singer, dancer, activist and author.


An Academy Award winner, MacLaine received the 40th AFI Life Achievement Award from the American Film Institute in 2012, and received the Kennedy Center Honors for her lifetime contributions to American culture through the performing arts in 2013. She is known for her New Age beliefs, and has an interest in spirituality and reincarnation. She has written a series of autobiographical works that describe these beliefs, document her world travels, and describe her Hollywood career.

Shirley Mac Laine

Shirley Mac Laine


A six-time Academy Award nominee, MacLaine received a nomination for Best Documentary Feature for The Other Half of the Sky: A China Memoir (1975), and Best Actress nominations for Some Came Running (1958), The Apartment (1960), Irma la Douce (1963), and The Turning Point (1977), before winning Best Actress for Terms of Endearment (1983). She twice won the BAFTA Award for Best Foreign Actress, for Ask Any Girl (1959), and The Apartment (1960).

MacLaine won an Emmy Award for Outstanding Comedy-Variety or Music Special for the 1976 TV special, Gypsy In My Soul. She has also won five competitive Golden Globe Awards and received the Golden Globe Cecil B. DeMille Award at the 1998 ceremony.


Named after Shirley Temple (who was 6 years old at the time), Shirley MacLean Beaty was born in Richmond, Virginia. Her father, Ira Owens Beaty, was a professor of psychology, public school administrator, and real estate agent, and her mother, Kathlyn Corinne (n√©e MacLean), was a drama teacher, originally from Wolfville, Nova Scotia, Canada. MacLaine’s younger brother is the actor, writer and director Warren Beatty; he changed the spelling of his surname when he became an actor.

Their parents raised them as Baptists. Her uncle (her mother’s brother-in-law) was A. A. MacLeod, a Communist member of the Ontario legislature in the 1940s.

Shirley Mac Laine2

Shirley Mac Laine2

While MacLaine was still a child, Ira Beaty moved his family from Richmond to Norfolk, and then to Arlington and Waverly, eventually taking a position at Arlington’s Thomas Jefferson Junior High School. MacLaine played baseball in an all-boys team, holding the record for most home runs which earned her the nickname “Powerhouse”. During the 1950s, the family resided in the Dominion Hills section of Arlington.

As a toddler she had weak ankles and would fall over with the slightest misstep, so her mother decided to enroll her in ballet class at the Washington School of Ballet at the age of three.

This was the beginning of her interest in performing. Strongly motivated by ballet, she never missed a class. In classical romantic pieces like Romeo and Juliet and The Sleeping Beauty, she always played the boys’ roles due to being the tallest in the group and the absence of males in the class.

Eventually she had a substantial female role as the fairy godmother in Cinderella; while warming up backstage, she broke her ankle, but then tightened the ribbons on her toe shoes and proceeded to dance the role all the way through before calling for an ambulance.

Ultimately she decided against making a career of professional ballet because she had grown too tall and was unable to acquire perfect technique.

She explained that she didn’t have the ideal body type, lacking the requisite “beautifully constructed feet” of high arches, high insteps and a flexible ankle.

Also slowly realizing ballet’s propensity to be too all-consuming, and ultimately limiting, she moved on to other forms of dancing, acting and musical theater.

MacLaine made her film debut in Alfred Hitchcock’s The Trouble with Harry (1955), for which she won the Golden Globe Award for New Star of the Year ‚Äď Actress. This was quickly followed by her role in the Martin and Lewis film Artists and Models (also 1955).

Soon afterwards, she had a role in Around the World in 80 Days (1956). This was followed by Hot Spell and a leading role in Some Came Running (both 1958); for the latter film she gained her first Academy Award nomination and a Golden Globe nomination.

Her second Oscar nomination came two years later for The Apartment (1960), starring with Jack Lemmon.

The film won five Oscars, including Best Director for Billy Wilder. She later said, “I thought I would win for The Apartment, but then Elizabeth Taylor had a tracheotomy.” She starred in The Children’s Hour (1961) also starring Audrey Hepburn and James Garner, based on the play by Lillian Hellman and directed by William Wyler.

She was again nominated, this time for Irma la Douce (1963), which reunited her with Wilder and Lemmon. Don Siegel, her director on Two Mules for Sister Sara (1970) said of her: “It’s hard to feel any great warmth to her. She’s too unfeminine and has too much balls. She’s very, very hard.”

At the peak of her success, she replaced Marilyn Monroe in Irma la Douce and What a Way to Go! (1964). Other films from this period include Gambit (1966), with Michael Caine, and the film version of the musical Sweet Charity (1968), based on the script for Fellini’s Nights of Cabiria released a decade earlier.


MacLaine’s documentary film The Other Half of the Sky: A China Memoir (1975), co-directed with Claudia Weill, concentrates on the experiences of women in China. It was nominated for the year’s Documentary Feature Oscar.

Co-starring with Anne Bancroft in The Turning Point (1977), MacLaine portrayed a retired ballerina much like herself; she was nominated for an Oscar as the Best Actress in a Leading Role. In 1978, she was awarded the Women in FilmCrystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.

In Being There (1979), she appeared with Peter Sellers. In a short-lived MacLaine television sitcom, Shirley’s World (1971‚Äď72), co-produced by Sheldon Leonard and ITC and shot in the United Kingdom, she was cast as a photojournalist.

Shirley Mac Laine3

MacLaine has also appeared in numerous television projects including an autobiographical miniseries based upon the book Out on a Limb;

The Salem Witch Trials;

These Old Broads written by Carrie Fisher and co-starring Elizabeth Taylor, Debbie Reynolds, and Joan Collins;

Coco, a Lifetime production based on the life of Coco Chanel.

She appeared in the third and fourth seasons of the British drama Downton Abbey as Martha Levinson, mother to Cora, Countess of Grantham (played by Elizabeth McGovern) and Harold Levinson (played by Paul Giamatti) in 2012‚Äď2013.

In February 2016, it was announced that MacLaine will star in the live-action family film A Little Mermaid, based on the Hans Christian Andersen fairytale, to be produced by MVP Studios.[16]


MacLaine was married to businessman Steve Parker from 1954 until their divorce in 1982; they have a daughter, Sachi.

In April 2011, while promoting her new book, I’m Over All That, she revealed to Oprah Winfrey that she had had an open relationship with her husband.

MacLaine also told Winfrey that she often fell for the leading men she worked with, with the exceptions of Jack Lemmon (The Apartment) and Jack Nicholson (Terms of Endearment).

MacLaine has also gotten into feuds with such notable co-stars as Anthony Hopkins (A Change of Seasons), who said that “she was the most obnoxious actress I have ever worked with,” and Debra Winger (Terms of Endearment).

MacLaine has claimed that, in a previous life in Atlantis, she was the brother to a 35,000-year-old spirit named Ramtha channeled by American mystic teacher and author J. Z. Knight.

She has a strong interest in spirituality and metaphysics, the central theme of some of her best-selling books including Out on a Limb and Dancing in the Light. She has undertaken such forms of spiritual exploration as walking the Way of St. James, working with Chris Griscom and practicing Transcendental Meditation.

Her well-known interest in New Age spirituality has also made its way into several of her films. In Albert Brooks’s romantic comedy Defending Your Life (1991), the recently deceased lead characters, played by Brooks and Meryl Streep, are astonished to find MacLaine introducing their past lives in the “Past Lives Pavilion”.

In Postcards from the Edge (1990), MacLaine sings a version of “I’m Still Here”, with customized lyrics created for her by composer Stephen Sondheim. One of the lyrics was changed to “I’m feeling transcendental ‚Äď am I here?” In the television movie These Old Broads, MacLaine’s character is a devotee of New Age spirituality.

She has an interest in UFOs, and gave numerous interviews on CNN, NBC and Fox news channels on the subject during 2007‚Äď8. In her book Sage-ing While Age-ing (2007), she described alien encounters and witnessing a Washington, D.C. UFO incident in the 1950s.In the April 2011 edition of the Oprah show MacLaine stated that she and her neighbor observed numerous UFO incidents at her New Mexico ranch for extended periods of time.

MacLaine is godmother to the daughter of former Democratic U.S. Representative Dennis Kucinich.

Along with her brother, Warren Beatty, MacLaine used her celebrity status in instrumental roles as a fundraiser and organizer for George McGovern’s campaign for president in 1972.That year, she authored the book McGovern: The Man and His Beliefs.

On February 7, 2013, Penguin Group USA published Sachi Parker’s autobiography Lucky Me: My Life With ‚Äď and Without ‚Äď My Mom, Shirley MacLaine.[36]MacLaine has called the book “virtually all fiction”.

MacLaine starred in A Change of Seasons (1980) alongside Anthony Hopkins, and won the Best Actress in a Leading Role Oscar for Terms of Endearment (1983), playing Debra Winger’s mother. She won a Golden Globe for Best Actress (Drama) for Madame Sousatzka (1988).

She has continued to star in major films, such as Steel Magnolias with Sally Field, Julia Roberts and other stars. In 2000 she made her feature-film directorial debut and starred in Bruno, which was released to video as The Dress Code. MacLaine has starred in Postcards from the Edge (1990) with Meryl Streep, playing a fictionalized version of Debbie Reynolds from a screenplay by Reynolds’s daughter, Carrie Fisher; Used People (1992) with Jessica Tandy and Kathy Bates; Guarding Tess (1994) with Nicolas Cage; Mrs. Winterbourne (1996), with Ricki Lake and Brendan Fraser; Rumor Has It‚Ķ (2005) with Kevin Costner and Jennifer Aniston; In Her Shoes (also 2005) with Cameron Diaz and Toni Collette; and Closing the Ring (2007) directed by Richard Attenborough and starring Christopher Plummer.


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Julie Andrews – Jack Lemmon in THAT’S LIFE

That’s Life! is a 1986 American comedy-drama film starring Jack Lemmon and Julie Andrews, directed by Blake Edwards.



The film was made independently by Edwards using largely his own finances and was distributed by Columbia Pictures. Although Columbia released the film, Artisan Entertainment holds the rights to distribute it on DVD.

That’s Life! was shot in Edwards and his wife Andrews’ own beachside home in Malibu and features their family in small roles, including two daughters. Lemmon’s son Chris Lemmon plays his character’s son Josh, while his wife Felicia Farr puts in a brief cameo appearance as a fortune teller.

Because of the film’s independent status, many of the cast and crew were paid below union-level wages, resulting in the American Society of Cinematographers picketing the film during production and taking an advertisement in Variety in protest. As a result, the original director of photography, Harry Stradling Jr., was forced to quit the film and was subsequently replaced by Anthony Richmond, a British cinematographer.


Harvey Fairchild is a wealthy, Malibu-based architect who is turning 60 and suffering from a form of male menopause. He feels aches and pains, real or imaginary, and seems unhappy with his professional and personal life.

Harvey’s patient wife Gillian tries to cheer him with family get-togethers and an elaborately planned birthday party. But she secretly has worries of her own, a throat condition that could result in the loss of her voice.


Whining his way through day after day, Harvey snaps at his pregnant daughter Megan and makes rude remarks to his actor son Josh. He tries going to a priest, only to discover that the man to whom he is confessing is an old rival from their college years at Notre Dame. He also consults a local psychic, Madame Carrie, sex with whom leaves Harvey with a venereal disease.

The miserable Harvey is furious with a client named Janice Kern who can’t stop revising her plans for a magnificent house Harvey has been building, but he has meaningless sex with her as well. Gillian bravely hides her cancer fear from the family, but finally, overcome with emotion, she confides in her friend and neighbor, Holly.

Harvey threatens to spoil the birthday party for everybody. He is in such a foul mood that just because a friend named Belmont tells him a depressing story about an illness, he amuses himself by introducing Belmont to the VD-infected psychic.

Gillian warns her husband that he is going to lose everything if he continues to behave this way. During his party, Gillian’s doctor arrives to inform her that the biopsy test results are negative and she is going to be all right. She takes Harvey aside to let him know just how precious life really can be.

Jack Lemmon as Harvey Fairchild

Julie Andrews as Gillian Fairchild

Sally Kellerman as Holly Parrish

Robert Loggia as Father Baragone

Jennifer Edwards as Megan Fairchild Bartlet

Rob Knepper as Steve Larwin

Matt Lattanzi as Larry Bartlet

Chris Lemmon as Josh Fairchild

Cynthia Sikes as Janice Kern

Dana Sparks as Fanny Ward

Emma Walton as Kate Fairchild

Felicia Farr as Madame Carrie









American Graffiti is a 1973 American coming-of-age comedy-drama film directed and co-written by George Lucas starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Suzanne Somers and Joe Spano also appear in the film.


Set in Modesto, California in 1962, the film is a study of the cruising and rock and roll cultures popular among the post‚ÄďWorld War II baby boom generation. The film is told in a series of vignettes, telling the story of a group of teenagers and their adventures over a single night.

The genesis of American Graffiti was in Lucas‘ own teenage years in early 1960s Modesto. He was unsuccessful in pitching the concept to financiers and distributors but found favor at Universal Pictures after United Artists, 20th Century Fox, Columbia Pictures, Metro-Goldwyn-Mayer, Warner Bros., and Paramount Pictures turned him down. Filming was initially set to take place in San Rafael, California, but the production crew was denied permission to shoot beyond a second day.


American Graffiti premiered on August 2, 1973 at the Locarno International Film Festival in Switzerland and was released on August 11, 1973 in the United States. The film received widespread critical acclaim and was nominated for the Academy Award for Best Picture. Produced on a $777,000 budget, it has become one of the most profitable films of all time. Since its initial release, American Graffiti has garnered an estimated return of well over $200 million in box office gross and home video sales, not including merchandising. In 1995, the United States Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry.


In early September 1962 in Modesto, California, on the last evening of summer vacation, recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner, the drag-racing king of the town, and Terry “The Toad” Fields in the parking lot of the local Mel’s Drive-In diner. Curt and Steve are scheduled to travel the next morning to Northeastern United States to start college. Despite receiving a $2,000 scholarship from the local Moose Lodge, Curt has second thoughts about leaving Modesto. Steve gives Toad his 1958 Chevrolet Impala to watch while he’s away at college until he returns at Christmas. Steve’s girlfriend, Laurie, who is also Curt’s sister, arrives in her car. Steve suggests to Laurie, who is already glum about him going to college, that they see other people while he is away in order to “strengthen” their relationship. Though not openly upset, she is displeased with his proposal which affects their interactions the rest of the evening.


Curt accompanies Steve, last year’s high school student class president, and Laurie, the current head cheerleader, to the back-to-high-school sock hop. In one story line, Curt is desperate to find a beautiful blonde girl driving a white 1956 Ford Thunderbird that he sees en route to the dance: at a stoplight, she appears to say “I love you” before disappearing around the corner. After leaving the hop, Curt is coerced by a group of greasers (“The Pharaohs”) to participate in an initiation rite that involves hooking a chain to a police car and ripping out its back axle. The Pharaohs tell Curt that “The Blonde” is a trophy wife or prostitute, but he refuses to believe either.

Determined to get a message to the blonde girl, Curt drives to the local radio station to ask DJ Wolfman Jack, who is omnipresent on the car radios, to announce a message for the blonde girl. Inside the radio station, Curt encounters a bearded man who tells him that the voice of The Wolfman is pre-taped from afar.

The man still accepts the message from Curt to see what he could do. As he is leaving the station, Curt sees the man talking into the microphone and hears the voice of The Wolfman, and realizes the man is the actual DJ himself.


Sure enough, The Wolfman eventually reads the message on the radio for “The Blonde” to meet Curt or call him at a number which happens to be a telephone booth. Curt waits by the telephone booth and early the next morning, he is awakened by the phone ringing. It turns out to be “The Blonde” who says she knows him and maybe she would see him cruising the coming night. Curt replies probably not, intimating that he decided to go to college and will be leaving that morning.

The Toad, in Steve’s car, and John, in his yellow 1932 Ford Deuce Coup√© hot rod, cruise the strip of Modesto. Toad, who is normally socially inept with girls, successfully picks up a flirtatious, and somewhat rebellious, girl named Debbie. John inadvertently picks up Carol, an annoying 12-year-old who seems fond of him. Another drag racer, the handsome and arrogant Bob Falfa, is searching out John in order to challenge him to a race.

Steve and Laurie have a series of arguments and make-ups through the evening. They finally split and, as the story lines intertwine, Bob Falfa picks up Laurie in his black 1955 Chevrolet One-Fifty Coup√©. Bob finally finds John and goads him into racing. A parade of cars follow them to “Paradise Road” to watch the race. Laurie rides shotgun with Bob as Toad starts the race. As Bob begins taking a lead in the race, he loses control of the car when a front tire blows, and the car plunges into a ditch and rolls over. Steve and John leap out of their cars and rush to the wreck as a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and begs him not to leave her. He assures her that he will stay in Modesto.

At the airfield in the morning, Curt says goodbye to his parents, his sister Laurie, Steve, John and The Toad. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde driving down a country road.

An on-screen epilogue reveals that

John is killed by a drunk driver in December 1964,

Toad is reported missing in action near An LŠĽôc in December 1965,

Steve is an insurance agent in Modesto, California,


Curt is a writer living in Canada.


Richard Dreyfuss as Curt Henderson

Ron Howard as Steve Bolander

Paul Le Mat as John Milner

Charles Martin Smith as Terry “The Toad” Fields

Cindy Williams as Laurie Henderson

Candy Clark as Debbie Dunham

Mackenzie Phillips as Carol Morrison

Wolfman Jack as himself

Bo Hopkins as Joe Young

Manuel Padilla, Jr. as Carlos

Harrison Ford as Bob Falfa

Lynne Marie Stewart as Bobbie Tucker

Terry McGovern as Mr. Wolfe

Kathleen Quinlan as Peg

Scott Beach as Mr. Gordon

Susan Richardson as Judy

Kay Lenz as Jane

Joe Spano as Vic

Debralee Scott as Falfa’s Girl

Suzanne Somers as “The Blonde” in T-Bird

American Graffiti


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Jerry Lewis  (born Joseph Levitch; March 16, 1926) is an American actor, comedian, singer, film producer, film director, screenwriter and humanitarian. He is known for his slapstick humor in film, television, stage and radio.

Picture taken during the 60s of US comedian, direc


He and Dean Martin were partners as the hit popular comedy duo of Martin and Lewis. Following that success, he was a solo star in film, nightclubs, television, concerts and musicals. Lewis served as national chairman of the Muscular Dystrophy Association and hosted the live Labor Day broadcast of the Jerry Lewis MDA Telethon for 44 years.

Lewis has received several awards for lifetime achievements from the American Comedy Awards, Los Angeles Film Critics Association, Venice Film Festival, Academy of Motion Picture Arts and Sciences and been honored with two stars on the Hollywood Walk of Fame.

Early life

Lewis was born¬†on March 16, 1926 in¬†Newark, New Jersey¬†to¬†Russian Jewish¬†parents His father, Daniel Levitch (1902‚Äď80), was a¬†master of ceremonies¬†and¬†vaudeville¬†entertainerwho used the professional name Danny Lewis.

His mother, Rachel (“Rae”) Levitch (n√©e¬†Brodsky),was a piano player for a radio station. Lewis started performing at age five and would often perform alongside his parents in the¬†Catskill Mountains¬†in¬†New York State.

By 15, he had developed his “Record Act” in which he exaggeratedly mimed the lyrics to songs on a phonograph.

He used the professional name Joey Lewis but soon changed it to Jerry Lewis to avoid confusion with comedian¬†Joe E. Lewis¬†and heavyweight boxing champion¬†Joe Louis. Lewis then dropped out of¬†Irvington High School¬†in the tenth grade. He was a “character” even in his teenage years pulling pranks in his neighborhood including sneaking into kitchens to steal fried chicken and pies. During¬†World War II, he was rejected for military service because of a¬†heart murmur.

Lewis initially gained attention as part of a double act with singer¬†Dean Martin, who served as¬†straight man¬†to Lewis’ zany antics in the¬†Martin and Lewis¬†comedy team. The performers were different from most other comedy acts of the time because they relied on their interaction instead of planned skits. They quickly rose to national prominence, first with their popular nightclub act, next as stars of their own¬†radio program.

The two men made many appearances on early live television, their first on the June 20, 1948, debut broadcast of Toast of the Town on CBS (later as The Ed Sullivan Show). This was followed on October 3, 1948, by an appearance on the NBC series Welcome Aboard, then a stint as the first of a series of hosts of The Colgate Comedy Hour in 1950.

The duo began their Paramount film careers as ensemble players in My Friend Irma (1949), based on the popular radio series of the same name. This was followed by a sequel My Friend Irma Goes West (1950).

Jerry Lewis MDA Telethon

Dean Martin / Franck Sinatra / Jerry Lewis

Starting with¬†At War with the Army¬†(1950), Martin and Lewis were the stars of their own vehicles in fourteen additional titles,¬†That’s My Boy¬†(1951),¬†Sailor Beware¬†(1952),¬†Jumping Jacks¬†(1952), (plus appearing in the¬†Crosby¬†and¬†Hope¬†film,¬†Road to Bali¬†(1952) as cameos)¬†The Stooge¬†(1952),¬†Scared Stiff¬†(1953),¬†The Caddy¬†(1953),¬†Money from Home¬†(1953),¬†Living It Up¬†(1954),¬†3 Ring Circus¬†(1954),¬†You’re Never Too Young¬†(1955),¬†Artists and Models¬†(1955) and¬†Pardners¬†(1956) at Paramount, ending with¬†Hollywood or Bust¬†(1956).

All sixteen movies were produced by¬†Hal B. Wallis. Attesting the comedy team’s popularity,¬†DC Comics¬†published the best-selling¬†The Adventures of Dean Martin and Jerry Lewis¬†comics from 1952 to 1957. As Martin’s roles in their films became less important over time the partnership came under strain. Martin’s participation became an embarrassment in 1954 when¬†Look¬†magazine used a publicity photo of the team for the magazine cover but cropped Martin out of the photo.The partnership ended on July 24, 1956.

While both Martin and Lewis went on to successful solo careers, neither would comment on the split nor consider a reunion. They did however make occasional public appearances together up until 1961, but were not seen together again until a surprise television appearance by Martin on a Muscular Dystrophy Telethon in 1976, arranged by Frank Sinatra.

The pair eventually reconciled in the late 1980s after the death of Martin’s son,¬†Dean Paul Martin, in 1987.

The two men were seen together on stage for the last time when Martin was making what would be his final live performance at Bally’s Hotel and Casino in¬†Las Vegas. Lewis pushed out a birthday cake for Martin’s 72nd birthday in 1989 and sang “Happy Birthday” to him, and joking, “why we broke up, I’ll never know.”


After the split from Martin, Lewis remained at Paramount and became a comedy star in his own right with his first film as a solo comic,¬†The Delicate Delinquent¬†(1957). Meanwhile, DC Comics published a new comic book series¬†The Adventures of Jerry Lewis¬†from 1957 to 1971. Teaming with director¬†Frank Tashlin, whose background as a¬†Warner Bros.¬†Looney Tunes¬†cartoon director suited Lewis’s brand of humor, he starred in five more films,¬†The Sad Sack¬†(1957),¬†Rock-A-Bye Baby¬†(1958),¬†The Geisha Boy¬†(1958),¬†Don’t Give Up The Ship¬†(1959) and even appeared uncredited as Itchy McRabbitt in¬†Li’l Abner¬†(1959).

Lewis tried his hand at releasing music during the 1950s, having a chart hit with the song “Rock-a-Bye Your Baby with a Dixie Melody” (a song largely associated with¬†Al Jolson¬†and later re-popularized by¬†Judy Garland) as well as the song, “It All Depends on You” in 1958. He eventually released his own album titled,¬†Jerry Lewis Just Sings.

By the end of his contract with producer Hal B. Wallis, Lewis had several productions of his own under his belt. In 1959, a contract between Paramount Pictures and Jerry Lewis Productions was signed specifying a payment of $10 million plus 60% of the profits for 14 films over a seven-year period.

In 1960, Lewis finished his contract with Wallis with¬†Visit to a Small Planet¬†(1960), and wrapped up work on his own production,¬†Cinderfella, which was postponed for a Christmas 1960 release, and Paramount, needing a quickie feature film for its summer 1960 schedule, held Lewis to his contract to produce one. Lewis came up with¬†The Bellboy¬†(1960). Using the¬†Fontainebleau Hotel¬†in Miami as his setting‚ÄĒand on a small budget, with a very tight shooting schedule, and no script‚ÄĒLewis shot the film by day and performed at the hotel in the evenings.¬†Bill Richmond¬†collaborated with him on the many sight gags. Lewis later revealed that Paramount was not happy financing a ‘silent movie’ and withdrew backing. Lewis used his own funds to cover the $950,000 budget.

During production Lewis developed the technique of using video cameras and multiple closed circuit monitors, which allowed him to review his performance instantly.

His techniques and methods, documented in his book and his USC class, enabled him to complete most of his films on time and under budget.

Lewis followed¬†The Bellboy¬†by directing several more films that he co-wrote with Richmond while some were directed by Tashlin, including¬†The Ladies Man¬†(1961),¬†The Errand Boy¬†(1961),¬†It’s Only Money¬†(1962) and¬†The Nutty Professor¬†(1963). Lewis did a cameo in¬†It’s a Mad, Mad, Mad, Mad World¬†(1963).

Further Lewis films were¬†Who’s Minding the Store?¬†(1963),¬†The Patsy¬†(1964) and¬†The Disorderly Orderly¬†(1964).

Lewis directed and co-wrote¬†The Family Jewels¬†(1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl’s beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard. On television, Lewis hosted two different programs called¬†The Jerry Lewis Show. The first was a two-hour Saturday night variety show on¬†ABC¬†in the fall of 1963. The lavish, big-budget production failed to find an audience and was canceled after 13 weeks. His second program was a one-hour variety show on¬†NBC¬†from 1967 to 1969.

By 1966, Lewis, then 40, was no longer an angular juvenile, his routines seemed more labored and his box office appeal waned to the point where Paramount Pictures new executives felt no further need for the Lewis comedies and did not wish to renew his 1959 profit sharing contract. Undaunted, Lewis packed up and went to¬†Columbia Pictures, where he made¬†Three On A Couch¬†(1966), then appeared in¬†Way…Way Out¬†(1966) for¬†20th Century Fox¬†followed by¬†The Big Mouth¬†(1967),¬†Don’t Raise the Bridge, Lower the River¬†(1968) and¬†Hook, Line & Sinker¬†(1969).

Lewis taught a film directing class at the University of Southern California in Los Angeles for a number of years; his students included Steven Spielberg and George Lucas.]

In 1968, he screened Spielberg’s early film,¬†Amblin’¬†and told his students, “That’s what filmmaking is all about.”

Lewis directed and made his first offscreen voice performance as a bandleader in One More Time (1970), which starred Sammy Davis Jr. (a friend of Lewis). He then produced, directed and starred in Which Way to the Front? (1970).

He would then make and star in the unreleased The Day the Clown Cried (1972), a drama set in a Nazi concentration camp.

Lewis rarely discusses the film, but once suggested that litigation over post-production finances prevented the film’s completion and release. However, he admitted during his book tour for¬†Dean and Me¬†that a major factor for the film’s burial is that he is not proud of the effort. In 1976, Lewis appeared in a revival of¬†Hellzapoppin’¬†with¬†Lynn Redgrave, but it closed on the road before reaching¬†Broadway.

After an absence of 11 years, Lewis returned to film in Hardly Working (1981), a movie in which he both directed and starred.

Despite being panned by critics, the movie eventually earned $50¬†million. Lewis next appeared in¬†Martin Scorsese‘s film¬†The King of Comedy¬†(1983), in which he portrayed a late-night television host plagued by two obsessive fans, played by¬†Robert De Niro¬†and¬†Sandra Bernhard. Lewis also appeared in¬†Cracking Up¬†(1983) and¬†Slapstick (Of Another Kind)¬†(1984).

In¬†France, Lewis starred in both¬†To Catch a Cop¬†a.k.a. “The Defective Detective” (1984) and¬†How Did You Get In?, We Didn’t See You Leave¬†(1984). Lewis has stated that as long as he has control over distribution of those movies, they will never have an American release. Meanwhile, a syndicated talk show Lewis hosted for Metromedia in 1984 was not continued beyond the scheduled five shows. Lewis starred in the ABC televised drama movie¬†Fight For Life¬†(1987) with¬†Patty Duke, then appeared in¬†Cookie¬†(1989).

Lewis had a cameo in Mr. Saturday Night (1992) while guest appearing in an episode of Mad About You as an eccentric billionaire. Lewis made his Broadway debut, as a replacement cast member playing the devil in a revival of Damn Yankees, choreographed by future movie director Rob Marshall (Chicago) while also starring in the film Arizona Dream (1994), as a car salesman uncle. Lewis then starred as a father of a young comic in Funny Bones (1995).

In March 2006, the¬†French Minister of Culture¬†awarded Lewis the¬†L√©gion d’honneur, calling him the “French people’s favorite clown”¬†Lewis has remained popular in the country, evidenced by consistent praise by French critics in the influential magazine¬†Cahiers du Cin√©ma¬†for his absurd comedy, in part because he had gained respect as an¬†auteur¬†who had total control over all aspects of his films, comparable to¬†Howard Hawks¬†and¬†Alfred Hitchcock.

Liking Lewis has long been a common stereotype about the French in the minds of many English-speakers, and is often the object of jokes in English-speaking world pop culture.

“That Americans can’t see Jerry Lewis’s genius is bewildering,” says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book¬†Why the French Love Jerry Lewis, by Rae Beth Gordon

In 2012, Lewis directed a musical theatre version of The Nutty Professor (with score by Marvin Hamlisch) at the Tennessee Performing Arts Center in Nashville from July 31 to August 19 over the summer. Lewis appeared in the Brazilian film Till Luck Do Us Part 2 (2013), then next in a small role in the crime drama The Trust (2016). Lewis made a comeback in a lead role in Max Rose (2016).

In an October 6, 2016 interview with Inside Edition, Lewis acknowledged that he may not star in any more films given his advanced age, while admitting, through tears, that he was afraid of dying as it would leave his wife and daughter alone.] In December of that year, he expressed interest in making another film.

Lewis has been married twice:

  • Patti Palmer (n√©e Esther Grace Calonico), a former singer with¬†Ted Fio Ritomarried October 3, 1944, divorced September 1980[
  • SanDee Pitnick; married February 13, 1983; a 32-year-old Las Vegas dancer; married in¬†Key Biscayne, Florida

He has six sons (one adopted) and one daughter (adopted):

With Patti Palmer

  • Gary Lewis(born July 31, 1945);¬†known for his 1960s pop group¬†Gary Lewis & the Playboys
  • Ronald Steven “Ronnie” Lewis (born December 1949 [adopted])
  • Scott Anthony Lewis (born February 22, 1956)
  • Christopher Lewis (born October 1957)
  • Anthony Lewis (born October 1959)
  • Joseph Lewis (born January 1964, died October 24, 2009 [from a¬†narcoticsoverdose])[36]

With SanDee Pitnick

  • Danielle Sara Lewis (adopted March 1992)

Lewis has suffered from a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel on the Las Vegas Strip on March 20, 1965.

The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years

He says he has been off the drug since 1978.]¬†In April 2002, Lewis had a¬†Medtronic¬†“Synergy”¬†neurostimulator¬†implanted in his back which has helped reduce the discomfort. He is now one of the company’s leading spokesmen.

In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he suffered his first heart attack while filming Cinderfella in 1960.

In December 1982, Lewis suffered another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he sustained a minor heart attack .

It was discovered that he had pneumonia as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90% blocked. The surgery resulted in increased blood flow to his heart and has allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks.

In 1999, Lewis’ Australian tour was cut short when he had to be hospitalized in¬†Darwin¬†with viral¬†meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100¬†million

Lewis has had prostate cancer, diabetes, pulmonary fibrosis and a decades-long history of heart disease. Prednisone  treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance.

In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium.

He was the headlining act, and he was introduced, but did not appear. He had suddenly become unwell, apparently with heart problems. He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from¬†hypoglycemia¬†at a¬†New York Friars’ Club¬†event. This latest health issue forced him to cancel a show in Sydney.

Muscular dystrophy activism

Throughout his entire life and prolific career, Lewis was a world renowned humanitarian who has supported fundraising for research into muscular dystrophy. Until 2011, he served as national chairman of and spokesman for the Muscular Dystrophy Association (MDA) (formerly, the Muscular Dystrophy Associations of America).

Lewis began hosting telethons to benefit the company from 1952 to 1959, then every Labor Day weekend from 1966 to 2010, he hosted the live annual Jerry Lewis MDA Telethon. Over nearly half a century, he raised over $2.6 billion in donations for the cause.

On August 3, 2011, it was announced that Lewis would no longer host the MDA telethons and is no longer associated with the Muscular Dystrophy Association

On May 1, 2015, it was announced that in view of “the new realities of television viewing and philanthropic giving”, the telethon was being discontinued.

] In early 2016, Lewis made an online video statement for the organization on its website, in honor of its rebranding, marking his first appearance in support of the Muscular Dystrophy Association since his final Labor Day Telethon in 2010 and the ending of his tenure as national chairman in 2011.

Theater chain

In 1969, Lewis agreed to lend his name to “Jerry Lewis Cinemas”, offered by National Cinema Corporation as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking films and in other aspects of film exhibition.

A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a “mini-theatre” with a seating capacity of between 200 and 350. In addition to Lewis’s name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.

Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an “individual exhibitor”. For $50,000, the Jerry Lewis Cinemas offered an opportunity known as an “area directorship”, in which investors controlled franchising opportunities in a territory as well as their own cinemas.

The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive films, but after a decade the chain failed. Both Lewis and National Cinema Corp. declared bankruptcy in 1980.

Jerry’s House

In 2010, Lewis met with 7-year-old Lochie Graham who shared his idea for “Jerry’s House”, a place for vulnerable and traumatized children. The Australian charity hope2Day is raising funds to build the facility in¬†Melbourne, Australia.


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CLAUDE GIRAUD dans Rabbi Jacob…Entre autres

Ce jour ¬†(05 F√©vrier) est l’anniversaire de M.CLAUDE GIRAUD

Petit rappel ? CLAUDE GIRAUD c’est le fameux MOHAMED LARBI SLIMANE ¬†dans le film RABBI jacob




Claude Giraud est un acteur français né le 5 février 1936 à Chamalières.

Tr√®s actif dans le milieu du doublage, il a √©t√© entre autres la voix fran√ßaise r√©guli√®re des acteurs Robert Redford, Tommy Lee Jones et Alan Rickman. Il est aussi la voix d’Ulysse dans la s√©rie d’animation Ulysse 31 diffus√©e en 1981.


Enfance, formation et débuts

Fils d’un gyn√©cologue, Claude Giraud grandit √† Clermont Ferrand o√Ļ son oncle poss√®de plusieurs salles de cin√©ma.

C’est par Pierre Fresnay qu’il rencontre Henri Rollan4. Il est admis au Conservatoire national sup√©rieur d’art dramatique √† Paris. √Ä sa sortie en 1962, il est engag√© √† la Com√©die-Fran√ßaise, dont il devient le 460e soci√©taire en 1976.


Claude Giraud quitte la Com√©die-Fran√ßaise fin 1982 pour participer √† la cr√©ation de la compagnie de Jean-Laurent Cochet au th√©√Ętre H√©bertot o√Ļ, √† l’instar de sa ¬ę maison ¬Ľ pr√©c√©dente, plusieurs spectacles seront donn√©s en alternance.

Il a jou√© de nombreux r√īles √† la t√©l√©vision dont Roger Mortimer dans la s√©rie Les Rois maudits (1972), le principal protagoniste des Compagnons de J√©hu (1966) et le p√®re de S√©bastien dans S√©bastien parmi les hommes (1968), aux c√īt√©s de Mehdi El Glaoui. Toujours √† la t√©l√©vision, il est Cinna (1962) devant la cam√©ra de Jean Kerchbron, Mehdi Ben Barka dans La guerre du p√©trole n’aura pas lieu (1974) de Souheil Ben Barka et donne la r√©plique √† Claude Jade dans Mamie Rose (1975) de Pierre Goutas .

Au cinéma, il est Philippe de Plessis-Bellière dans la série des Angélique (1964-1966), Hippolyte dans Phèdre (1968) de Pierre Jourdan et Slimane dans Les Aventures de Rabbi Jacob (1973) de Gérard Oury.

Cependant, c’est surtout en tant que com√©dien de doublage que Claude Giraud s’est impos√© depuis les ann√©es 1970, pr√™tant principalement sa voix √† Robert Redford (Nos plus belles ann√©es, Les Hommes du pr√©sident, Un pont trop loin, Out of Africa, L’Homme qui murmurait √† l’oreille des chevaux), Tommy Lee Jones (Le Fugitif), Harrison Ford (Les Aventuriers de l’arche perdue), Sean Connery (dans Le Nom de la rose), Alan Rickman (Harry Potter, Sweeney Todd et Michael Collins) et Liam Neeson (La Liste de Schindler et Batman Begins). Il est √©galement la voix fran√ßaise d’Ulysse dans la s√©rie anim√©e Ulysse 31 (1981).

Il double Robert Redford dans la bande-annonce du film Sous surveillance en 2012 mais, ayant pris sa retraite avant la sortie en salles, C Giraud, est remplac√© pour le doublage du film par Patrick B√©thune. On peut n√©anmoins entendre sa voix en 2014 dans Les Luminessences d’Avignon, un spectacle en 3D dans la cour d’honneur du Palais des papes.

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Vie privée

Marié avec la comédienne Catherine Demanet, Claude Giraud a deux enfants : Louis (1964) et Marianne (1966), épouse du comédien et metteur en scène Jean Martinez.

ANNIVERSARIES : 18th of January

Anniversaires de naissances et décès en ce 18 Janvier
Birthdays and death anniversaries on 18th January




18 janvier 1980 ◊ Estelle, chanteuse, rappeuse et productrice britannique (36 ans).
◊ Jason Segel, acteur, scénariste et musicien américain (36 ans).
18 janvier 1965 ◊ Valérie Damidot, animatrice télé française (51 ans).
18 janvier 1956 ◊ Elli Medeiros, chanteuse uruguayenne, carrière en France (60 ans).
18 janvier 1955 ◊ Kevin Costner, acteur et réalisateur américain (61 ans).
18 janvier 1950 ◊ Gilles Villeneuve, coureur automobile québecois (aurait 66 ans).
† 8 mai 1982
18 janvier 1949 ◊ Franz-Olivier Giesbert, journaliste français (67 ans).
◊ Philippe Starck, Designer et architecte français (67 ans).
18 janvier 1933 ◊ Jean Vuarnet, skieur français (83 ans).
18 janvier 1913 ◊ Danny Kaye, acteur américain (aurait 103 ans).
† 3 mars 1987
18 janvier 1904 ◊ Cary Grant, acteur américain (aurait 112 ans).
† 29 novembre 1986
18 janvier 1892 ◊ Oliver Hardy, acteur américain, Laurel & Hardy (aurait 124 ans).
‚Ƭ†7 ao√Ľt 1957
18 janvier 1881 ◊ Gaston Gallimard, éditeur français (aurait 135 ans).
† 25 décembre 1975
18 janvier 1689 ◊ Montesquieu, écrivain philosophe français (aurait 327 ans).
† 10 février 1755



danny kaye

Danny Kaye


CARY GRANT : here also another article / Voici un autre article

OLIVER HARDY : here also another article / Voici un autre article


Décès   Death   18 Janvier 

18 janvier 1988
Il y a 28 ans
† Jean Mitry, co-fondateur de la cinémathèque française (à 81 ans).
né le 7 novembre 1907
18 janvier 1986
Il y a 30 ans
† Jean Cassou, écrivain et résistant français (à 88 ans).
né le 9 juillet 1897
18 janvier 1977
Il y a 60 ans
† Yvonne Printemps, actrice française (à 82 ans).
née le 25 juillet 1894
18 janvier 1936
Il y a 80 ans
† Rudyard Kipling, écrivain britannique (à 71 ans).
né le 30 décembre 1865

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L‚Äôartiste, l‚Äôacteur M Jean Rochefort explique l‚Äôhistoire du ‚Äúpetit prince‚ÄĚ ( d‚ÄôAntoine de Saint Exup√©ry)¬†en quelques minutes en mode language dit de ‚Äújeunes‚ÄĚ

Sympa..Marrant‚ĶM√™me si pour notre part, ce n‚Äôest pas notre style, pas notre langage ūüôā

En tout cas, Bravo M Rochefort… Grand talent connu et reconnu.

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PARAMOUNT CHANNEL : CARY GRANT ¬† ¬† ¬† Wikipedia sources:¬† Cary Grant¬†(born¬†Archibald Alexander Leach; January 18, 1904 ‚Äď November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his¬†transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of¬†classic Hollywood’s definitive¬†leading men. Notorious¬†(1946),¬†The‚Ķ

Sourced through from:



The Change-Up is a 2011 American comedy film produced and directed by David Dobkin, written by Jon Lucas and Scott Moore, and starring Ryan Reynolds and Jason Bateman.

The film was released on August 5, 2011, in North America, by Universal Pictures, and received mostly negative reviews, with commentators criticizing the overly crude humor and generic plot, but praising the cast and particularly Bateman’s against-type performance.

Dave Lockwood (Jason Bateman) and Mitch Planko (Ryan Reynolds) are close friends who are each jealous of the other’s lifestyle.


While Dave is a lawyer with a wife and kids, Mitch is a freewheeling actor who has sex with many different women.

After getting drunk at a bar, Mitch and Dave urinate in a park’s fountain, and simultaneously wish that they had each other’s lives.

The next morning, Mitch and Dave realize they have switched bodies. Mitch remembers the wish they made the night before and they drive back to the park, planning to urinate again in the fountain and wish for their original lives back, but find the fountain has been removed for restorations.


Sources Wikipedia


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the change up movie 2011

the change up movie 2011



Aldo Maccione est un acteur et chanteur italien né le 27 novembre 1935 à Turin (Italie).



Acteur de com√©die, il a tourn√© dans son pays d’origine, mais c’est en France qu’il est devenu une vedette et o√Ļ il a fait l’essentiel de sa carri√®re dans les ann√©es 1970 et les ann√©es 1980.


Apr√®s avoir gagn√© un radio-crochet dans les ann√©es 60, Aldo Maccione est engag√© par un th√©√Ętre turinois o√Ļ il se fait remarquer en imitant les stars de l’√©poque comme Jerry Lewis et Clark Gable. Venu travailler √† Paris, il fait les entractes de l’Olympia avec son groupe italien, le quatuor ¬ę¬†Les Brutos¬†¬Ľ. Ils se produisent aux quatre coins de la plan√®te.



Entre quelques scopitones (anc√™tres des clips) dont un tourn√© par son futur r√©alisateur, Claude Lelouch, et quelques √©missions t√©l√© de vari√©t√©, il cr√©e un nouveau groupe parodique, ¬ę¬†Les Tontos¬†¬Ľ, qui se produit six ans d’affil√©e √† l’Emporium de Barcelone. C’est en accompagnant Sacha Distel √† Londres et √† l’Olympia qu’il cr√©e et popularise sa marque de fabrique¬†: ¬ę¬†Aldo la classe¬†¬Ľ



En 1970, Claude Lelouch, amus√© par sa d√©marche cambr√©e ¬ę¬†emprunt√©e¬†¬Ľ √† Alberto Sordi, lui donne son premier r√īle au cin√©ma dans Le Voyou. En 1972, il retrouve Claude Lelouch pour L’aventure c’est l’aventure o√Ļ, aux c√īt√©s de vedettes comme Lino Ventura, Charles Denner et Jacques Brel, il fait une c√©l√®bre d√©monstration de groupe de sa d√©marche.



Dans les ann√©es 1970, les r√īles comiques se succ√®dent. Il appara√ģt dans le premier volet de la Septi√®me Compagnie en 1973 (Henri Guybet reprendra son r√īle dans les deux √©pisodes suivants), mais aussi aux c√īt√©s de Pierre Richard (Je suis timide mais je me soigne, C’est pas moi, c’est lui) ou Jean-Paul Belmondo (L’Animal).



Les ann√©es 1980 s’av√®rent glorieuses et il est une vedette qui permet √† des com√©dies de se monter sur son seul nom. Il abandonne son personnage d’¬ę¬†Aldo la classe¬†¬Ľ √† la fin des ann√©es 1980 et a du mal √† donner un nouveau souffle √† sa carri√®re, faisant n√©anmoins quelques apparitions dans des films ou t√©l√©films.



En 2005, il appara√ģt dans le film fran√ßais Travaux, on sait quand √ßa commence… aux c√īt√©s de Carole Bouquet et Jean-Pierre Castaldi, dans le r√īle d’un carreleur un peu trop imbu de sa personne.

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Il vit désormais à Saint-Paul-de-Vence dans les Alpes-Maritimes.


√Ä partir du 29 janvier 2010, il participe √† la troisi√®me saison de La Ferme C√©l√©brit√©s en Afrique qu’il quitte le 5 f√©vrier 2010, pour cause de probl√®mes de sant√©.


Le 5 juin 2015, le journaliste et r√©alisateur Gilles Botineau publie aux √Čditions Christian Navarro une biographie enti√®rement consacr√©e au com√©dien. L’ouvrage, titr√©Aldo Maccione, la classe , est pr√©fac√© par Claude Lelouch.


Sources Wikipedia

Remember Aunt Clara ?? Bewitched?

Marion Lorne (August 12, 1883 ‚Äď May 9, 1968) was an American actress of stage, film, and television. After a career in theatre in New York and London, Lorne made her first film in 1951, and for the remainder of her life, played small roles in films and television.

Her recurring role, between 1964 and her death in 1968, as Aunt Clara in the comedy series, Bewitched (1964‚Äď1972) brought her widespread recognition, and for which she was posthumously awarded an Emmy Award for Outstanding Supporting Actress in a Comedy Series. ¬†

She was born Marion Lorne MacDougall in West Pittston, Pennsylvania, a small mining town halfway between Wilkes-Barre and Scranton, of Scottish and English immigrant parents.  While her year of birth is listed as 1885 on her tombstone, it was usually listed as 1888 when she was alive and the Social Security Death Index lists it as 1883. She studied at the American Academy of Dramatic Arts in New York City.

Career Lorne debuted on Broadway in 1905; she also acted in London theaters, enjoying a flourishing stage career on both sides of the Atlantic Ocean.

In London she had her own theater, the Whitehall, where she had top billing in plays written by Walter Hackett, her husband. None of her productions at the Whitehall had runs shorter than 125 nights.

After appearing in a couple of Vitaphone shorts, including Success (1931) starring Jack Haley, she made her feature film debut in her late 60s in Strangers on a Train (1951), directed by Alfred Hitchcock.

The role was typical of the befuddled, nervous, and somewhat aristocratic matrons that she usually portrayed.

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From 1952-55, Lorne was seen as perpetually confused junior high school English teacher Mrs. Gurney on Mr. Peepers. From 1957‚Äď58, she co-starred with Joan Caulfield in the NBC sitcom Sally in the role of an elderly widow who happens to be the co-owner of a department store. Although afraid of live television, declaring “I’m a coward when it comes to a live [television] show”, ¬†she was persuaded to appear a few times to promote the film The Girl Rush with Rosalind Russell in the mid-1950s.

Between 1958‚Äď64, she made regular appearances on The Garry Moore Show (1958‚Äď64). Her last role, as Aunt Clara in Bewitched, brought Lorne her widest fame as a lovable, forgetful witch who is losing her powers due to old age and whose spells usually end in disaster. Aunt Clara is obsessed with doorknobs, often bringing her collection with her on visits.

Lorne had an extensive collection of doorknobs in real life, some of which she used as props in the series.[8] Death She appeared in twenty-seven episodes of Bewitched, and was not replaced after she died of a heart attack in her Manhattan apartment, just prior to the start of production of the show’s fifth season, at the age of 84 on May 9, 1968. Lorne is buried at Ferncliff Cemetery in Greenburgh, New York.

Posthumous The producers of Bewitched recognized that Lorne’s performance as Aunt Clara could not be replicated by another actress. ¬†Comedic actress Alice Ghostley was recruited to fill the gap as “Esmeralda”, a different type of befuddled witch with wobbly magic whose spells often went astray.

Coincidentally, Lorne and Ghostley had appeared side-by-side as partygoers in the iconic comedy-drama film The Graduate , made the year before Lorne’s death. ¬†She received a posthumous Emmy Award for Outstanding Supporting Actress in a Comedy Series for her work on Bewitched. The statue was accepted by Bewitched star Elizabeth Montgomery. Personal life She was married to playwright Walter Hackett, who died in 1944. WIKIPEDIA ¬†SOURCES¬† Personal life She was married to playwright Walter Hackett, who died in 1944.

Old commercials – Anciennes publicit√©s

Pour les fans de publicit√©s “oldies”: Enjoy


Old commercials / Anciennes publicités.


Cliquez svp sur le lien pour voir la vidéo

Click pls on the link to watch the commercial ( video)

JOHN WAYNE La l√©gende

John WAYNE: Considéré comme l’américain patriote, héroique, symbolisant à lui seul




john wayne

john wayne

Marion Mitchell Morrison, dit¬†John Wayne, n√© le¬†26¬†mai¬†1907¬†√†¬†Winterset¬†dans l‚ÄôIowa, aux¬†√Čtats-Unis, et mort le¬†11¬†juin¬†1979¬†√†Los Angeles, est un¬†acteur,¬†r√©alisateur¬†et¬†producteur¬†am√©ricain.

S‚Äôil a jou√© dans des¬†films policiers, des¬†films de guerre¬†et quelques¬†com√©dies romantiques, c‚Äôest dans ses nombreux¬†westernsque John Wayne s‚Äôest r√©ellement impos√©, sous la direction de deux r√©alisateurs particuli√®rement¬†:¬†John Ford¬†(La Chevauch√©e fantastique,¬†Le Massacre de Fort Apache,¬†La Charge h√©ro√Įque,¬†Rio Grande,¬†La Prisonni√®re du d√©sert¬†ou encore¬†L‚ÄôHomme qui tua Liberty Valance) et¬†Howard Hawks¬†(La Rivi√®re rouge,¬†Rio Bravo,¬†El Dorado¬†ou¬†Rio Lobo). Il tourna √©galement plusieurs films avec¬†Henry Hathaway¬†dont¬†Cent dollars pour un sh√©rif, qui lui valut en 1970 l‚Äôunique¬†Oscar¬†de sa carri√®re.

En 1960, il passa derrière la caméra pour réaliser une fresque historique d’envergure, Alamo, relatant les derniers jours de Davy Crockett et ses compagnons lors de la guerre d’indépendance du Texas. Huit ans plus tard, il coréalisa Les Bérets verts, film engagé justifiant l’intervention américaine au Viêt Nam. Ses deux réalisations reflètent l’engagement personnel de John Wayne, républicain et ardent patriote

Class√©¬†13e¬†plus grande star de l√©gende¬†par l‚ÄôAmerican Film Institute¬†en 1999, John Wayne est certainement un des acteurs les plus repr√©sentatifs du¬†western, une incarnation √† lui seul de l‚ÄôAm√©rique conqu√©rante. Surnomm√© ¬ę¬†The Duke¬†¬Ľ (le Duc), il reste toujours aujourd‚Äôhui, gr√Ęce √† ses films, le symbole d‚Äôune certaine virilit√©. Il interpr√©ta ce r√īle d‚Äôhomme viril, dur, solitaire et un peu machiste tout au long de sa carri√®re, ce qui lui fit d√©clarer¬†: ¬ę¬†J‚Äôai jou√© John Wayne dans tous mes films et √ßa m‚Äôa plut√īt pas mal r√©ussi¬†¬Ľ.

Enfance et scolarité


Glendale¬†aujourd‚Äôhui, o√Ļ v√©cut John Wayne de 1916 √† 1924.

N√© dans une famille modeste et presbyt√©rienne, son p√®re est Clyde Leonard Morrison (1884‚Äď1937), d‚Äôascendance¬†irlandaise¬†et¬†√©cossaise¬†et fils d‚Äôun v√©t√©ran de la¬†Guerre de S√©cession, Marion Mitchell Morrison (1845‚Äď1915). Sa m√®re est Mary Alberta Brown (1885‚Äď1970), d‚Äôorigine irlandaise. En d√©cembre 1912 naquit son fr√®re Robert. Ses parents chang√®rent alors son identit√© en Marion Mitchell Morrison (toutefois il a souvent affirm√© que son vrai nom aurait √©t√© Marion Michael Morrison).

John Wayne

John Wayne


Peu apr√®s son p√®re eut des l√©sions aux poumons et fut contraint de ¬ę¬†changer d‚Äôair¬†¬Ľ pour sa sant√©. Il mit en vente sa pharmacie et acheta une maison d√©labr√©e pr√®s du¬†d√©sert des Mojaves, √† Palmdale, et des terres o√Ļ il d√©cida de faire pousser du ma√Įs. Sa femme et ses enfants vinrent le rejoindre en 1914. ¬ę¬†Je crois que c‚Äô√©tait une mis√©rable baraque. Ni gaz, ni √©lectricit√©, ni eau courante. […] Nous √©tions absolument coup√©s du monde.¬†¬Ľ C‚Äôest pour aider son p√®re qu‚Äôil apprit √† se servir d‚Äôun fusil et √† monter √† cheval. ¬ę¬†Je suis tr√®s √† l‚Äôaise en selle, mais je ne suis pas amoureux des chevaux. Ils sont seulement utiles dans une ferme ou pour tourner un film.¬†¬Ľ

Lass√©e du climat rude et de la pauvret√© de la famille, Mary Morrison poussa son mari √† tout vendre. Ils partirent √†¬†Glendale, faubourg de¬†Los Angeles, en 1916, o√Ļ le p√®re trouva un emploi dans une pharmacie5. Ils d√©m√©nag√®rent r√©guli√®rement, s‚Äôinstallant √† chaque fois dans une maison plus petite. Marion devint vite un bon √©l√®ve, lisant beaucoup √† la biblioth√®que municipale. √Ä douze ans, il encha√ģna, en parall√®le des cours, des petits boulots ¬†: livreur de journaux, livreur, ouvreur du cin√©ma Palace.

Son premier vrai souvenir d‚Äôun film est probablement¬†Les Quatre Cavaliers de l‚ÄôApocalypse¬†avec¬†Rudolph Valentino6. Gr√Ęce √† son job d‚Äôouvreur, il pouvait acc√©der √† un tr√®s grand nombre de films, dont des westerns avec¬†Harry Carey¬†ou des films d‚Äôaventures avec¬†Douglas Fairbanks. Il se lia d‚Äôamiti√© avec¬†Bob Steele, future star de westerns des ann√©es 1920. C‚Äôest aussi d√®s cette √©poque que Marion fut surnomm√© ¬ę¬†Big Duke¬†¬Ľ en r√©f√©rence √† son chien, ¬ę¬†Little Duke¬†¬Ľ, qu‚Äôil emmenait partout avec lui. Au coll√®ge, il appartenait aux clubs sportifs et culturels, et fit du th√©√Ętre, non comme acteur, mais comme accessoiriste. Ses rares performances d‚Äôacteur ne furent pas convaincantes, trop p√©trifi√© qu‚Äôil √©tait par le trac

Sportif et accessoiriste

En 1924, l‚ÄôUniversit√© de Californie du Sud¬†d√©cida de recruter les meilleurs √©l√©ments des clubs alentours pour sa propre √©quipe de football, les¬†Trojans, dont Marion Morrison. Pouvant faire ses √©tudes gratuitement gr√Ęce √† une bourse sportive, il fut aussi initi√© √† une fraternit√©, Sigma Chi8. Il rencontra peu apr√®s la vedette¬†Tom Mix, qui assistait √† tous les matchs de l‚Äô√©quipe. Appr√©ciant la carrure du jeune homme, il lui offrit un r√īle dans un film qu‚Äôil devait tourner quelques mois apr√®s.

Entre-temps, lors d‚Äôun weekend √† Balboa, il fut victime d‚Äôun accident de bodysurf¬†: il se d√©chira un muscle de l‚Äô√©paule apr√®s une chute qui le fit entrer en contact avec le fond, tenta vainement quelque temps de continuer le football mais fut √©vinc√© de l‚Äô√©quipe, avec toutefois un dipl√īme de la F√©d√©ration de football. Il n‚Äôy joua plus jamais. L‚Äô√©t√© au studio, la star m√©prisa le jeune Morrison, qui fut toutefois engag√©, mais comme accessoiriste.

La rencontre avec¬†John Ford¬†fut d√©cisive pour la carri√®re de John Wayne, m√™me si c‚Äôest¬†Raoul Walshqui lui confia son premier grand r√īle

Apr√®s une figuration sur le film¬†The drop Kick, il fut appel√© sur le tournage de¬†Maman de mon cŇďur, dirig√© par¬†John Ford, r√©alisateur d√©j√† respect√© √†¬†Hollywood. Celui-ci d√©cida un jour de provoquer gentiment le jeune footballeur Morrison en le faisant se mettre en position, puis en lui faisant mordre la poussi√®re. La pareille que lui rendit aussit√īt le jeune homme le fit grimper dans l‚Äôestime du r√©alisateur.




john wayne

Il l‚Äôembaucha d‚Äôailleurs comme acteur sur son film suivant,¬†La Maison du bourreau, dans un petit r√īle de paysan condamn√© par un juge.¬†John Ford¬†le fit d‚Äôabord renvoyer √† cause de son comportement (il fut pris d‚Äôun fou rire), puis le rappela et tourna la sc√®ne.

√Ä partir de 1928, il d√©cida de ne plus aller √† l‚Äôuniversit√©. N‚Äôayant plus la bourse accord√©e gr√Ęce √† l‚Äô√©quipe de football, il ne pouvait s‚Äôoffrir les cours. Il retourna √† la¬†Fox¬†et devint accessoiriste pendant trois ann√©es. ¬ę¬†J‚Äôai √©t√© menuisier, manŇďuvre, √©lectricien, charpentier, peintre et tapissier. J‚Äôai tout fait, je connais tous les probl√®mes du m√©tier et les trucs pour les r√©soudre.¬†¬Ľ Il travailla alors de nouveau avec¬†John Ford¬†et d‚Äôautres r√©alisateurs, et fit un peu de figuration, notamment dans¬†Words and music,¬†Rough Romance¬†ou¬†Cheer up and smile. Dans¬†Salute, il se confronta pour une des premi√®res fois √† un autre √©tudiant-footballeur voulant participer au film de Ford,¬†Wardell Bond. Dans¬†Hommes sans femmes¬†il fut engag√© comme cascadeur, mais pay√© au tarif d‚Äôun accessoiriste

JW young

JW young

Le faux départ

Le cin√©ma parlant avait rendu difficile la r√©alisation de westerns. Le r√©alisateur¬†Raoul Walsh¬†prouva le contraire en cor√©alisant¬†In Old Arizona¬†qui fut un gros succ√®s. La¬†Fox¬†voulut alors lui confier la r√©alisation d‚Äôun grand¬†western, au budget d‚Äôun million de dollars. Des acteurs de th√©√Ętre furent engag√©s ¬†:¬†Tyrone Power¬†et¬†Ian Keith. Pour le r√īle principal, le choix s‚Äôorienta vers¬†Gary Cooper, mais celui-ci √©tait indisponible car sous contrat avecSamuel Goldwyn. Walsh remarqua alors par hasard cet accessoiriste qui d√©chargeait un camion, Duke Morrison, puis d√©cida de lui faire faire un bout d‚Äôessai. Le producteur d√©l√©gu√© et le r√©alisateur d√©cid√®rent juste apr√®s de lui faire changer de nom. Par admiration pour le g√©n√©ral¬†Anthony Wayne, on lui trouva un nom. Et tout b√™tement parce que ¬ę¬†John¬†¬Ľ faisait Am√©ricain et simple, on lui donna ce pr√©nom. Ainsi Duke Morrison devint John Wayne, sans m√™me avoir √©t√© consult√©.

Le tournage de La Piste des géants commença à Yuma. Wayne fut victime d’une dysenterie qui l’obligea à un régime et lui fit perdre trois semaines de tournage. Le film fut tourné en70 mm, près de vingt ans avant le CinemaScope. La première mondiale eut lieu le 24 octobre 1930 dans un grand cinéma de Hollywood et la société de production fit faire à sa nouvelle vedette une promotion mensongère, lui inventant une nouvelle biographie.

Le film fut un √©chec notoire et la cons√©quence pour John Wayne fut de redevenir un acteur inconnu, sous contrat, √†¬†75¬†dollars¬†la semaine. De plus, il se f√Ęcha quelque temps avec¬†John Ford

Les années 1930 : entre échecs et nouveau départ

Un acteur de séries B

Duke fut engag√© en 1930 pour tourner¬†Girls demand excitement, une com√©die musicale dirig√©e par un chor√©graphe de¬†New York¬†parfaitement inexp√©riment√©, avec¬†Virginia Cherrill. Puis avec¬†Loretta Young, ce fut¬†Three girls lost. Pr√©sent√© le¬†1er¬†mai 1931, le film fut r√©sum√© par un critique par¬†: ¬ę¬†Tout cela est assez idiot¬†!¬†¬Ľ La¬†Fox¬†ne renouvela pas le contrat de John Wayne, qui fut embauch√© par¬†Harry Cohn, grand patron de la¬†Columbia, qui lui fit tourner un autre film sans int√©r√™t,¬†Men are like that. Ces films permirent toutefois √† Wayne de se faire un public. Mais une brouille avec Cohn lui fit perdre son statut de vedette, et il devint un second r√īle, au profit de¬†Tim McCoy¬†notamment. Il n‚Äôoublia jamais cette offense et, devenu une grande vedette, refusa toujours de tourner pour la¬†Columbia.

La mode √©tait aux films d‚Äôaviation. John Wayne, qui venait de prendre un agent, Al Kingston, tourna¬†L‚Äôombre d‚Äôun aigle. C‚Äôest sur ce tournage qu‚Äôil rencontra¬†Yakima Canutt, qui allait devenir l‚Äôun des cascadeurs les plus connus du cin√©ma am√©ricain. Il encha√ģna avec¬†Hurricane express¬†o√Ļ il interpr√©tait un aviateur d√©cid√© √† venger son p√®re, tu√© dans un accident de chemin de fer. Le 24 juin 1933, il se maria enfin √† celle qu‚Äôil aimait depuis des ann√©es, Josie (Josephine Saenz).

cette derni√®re lui permit d‚Äôobtenir un petit r√īle, celui d‚Äôun boxeur, dans¬†La Vie de Jimmy Dolan¬†avec¬†Douglas Fairbanks. Al Kingston arrangea ensuite un entretien avec¬†Trem Carr¬†et¬†Leo Ostrow¬†qui venaient de fonder la soci√©t√©Monogram Pictures¬†et Duke se vit offrir un contrat de huit westerns par an, pay√©s 2500 $. Il tourna la m√™me ann√©e¬†Les Cavaliers du destin¬†o√Ļ il fut un cow-boy chantant. Exasp√©r√© par cette exp√©rience humiliante, il d√©clara plus tard que sa chansonnette en play-back lui donnait l‚Äôimpression ¬ę¬†d‚Äô√™tre une foutue p√©dale.¬†¬Ľ Pourtant cette √©poque laissa √† Wayne de bons souvenirs, il d√©clara plus tard ¬†: ¬ę¬†D‚Äôavril √† septembre on travaillait comme des dingues pour fournir de la pellicule aux petites salles qui achetaient la production en bloc et d‚Äôavance. Puis, √† la fin de l‚Äô√©t√©, je filais chasser la palombe. Ensuite c‚Äô√©tait la saison des oies sauvages et des canards. […] Oui c‚Äô√©tait le bon temps



De nouvelles expériences navrantes

Marié et à présent père, John Wayne refusa un nouveau contrat de 24 000 $ proposé par Herbert J. Yates pour Monogram Pictures, las de vivre loin de sa famille et de ses enfants. Il s’essaya sans succès à la gestion d’une agence immobilière. Puis, sous le nom de Duke Morrison, devint boxeur et fit quelques combats dans le Nevada19. Encore une fois, sans grand succès. Résolu à revenir au cinéma, il tenta de se faire remarquer par Cecil B. DeMille,



en vain. Son ami¬†Paul Fix¬†lui proposa alors une pi√®ce de th√©√Ętre,¬†Red Sky At Evening, avecSally Blane. D‚Äôabord enthousiasm√©, il d√©chanta assez vite, se rappelant ses exp√©riences navrantes de jeunesse. La seule et unique repr√©sentation fut un d√©sastre ¬†: ayant vid√© une bouteille de whisky pour se donner du courage, Wayne entra sur sc√®ne ivre, oubliant ses r√©pliques et demandant¬†: ¬ę¬†O√Ļ suis-je?¬†¬Ľ

Il reprit alors le chemin des studios et tourna pour¬†Universal¬†quelques films o√Ļ il abandonnait son personnage de cow-boy. Entre 1936 et 1937, il tourna ainsi¬†Les Pirates de la mer,¬†Conflic¬†o√Ļ il joua un boxeur,¬†I Cover de war¬†dans le r√īle d‚Äôun reporter, et¬†L‚Äôidole de la foule. Produits √† co√Ľts r√©duits, ces films furent des √©checs cuisants. Son public fid√®le ne voulait de John Wayne qu‚Äôil ne f√Ľt qu‚Äôun cow-boy, sachant se battre et manier son pistolet. Il revint alors vers¬†Herbert J. Yates¬†et tourna d‚Äôautres films m√©diocres, dont certains ne sortirent qu‚Äôune fois John Wayne devenu une star.

¬ę¬†Sauv√©¬†¬Ľ par John Ford

√Ä l‚Äô√©t√© 1937,¬†John Ford¬†invita Wayne √† bord de son bateau, l‚ÄôAraner, et lui donna √† lire un sc√©nario de¬†Dudley Nichols,¬†La Chevauch√©e fantastique, pour avoir son avis quant √† l‚Äôacteur qui pourrait endosser le premier r√īle. Vex√©, il proposa n√©anmoins¬†Lloyd Nolan. Ce n‚Äôest que le lendemain que Ford lui demanda¬†: ¬ę¬†Idiot, tu penses que tu ne pourrais pas le jouer le r√īle¬†?¬†¬Ľ Mais les producteurs envisageaient plut√īt des vedettes confirm√©es ¬†:¬†Gary Cooper¬†et¬†Marl√®ne Dietrich.

Le réalisateur réussit finalement à imposer Wayne et Claire Trevor, ainsi que d’autres acteurs expérimentés, tels que Thomas Mitchell ou George Bancroft.

Le film fut tourn√© d‚Äôoctobre √† d√©cembre 1938, avec un budget modeste. Quelques sc√®nes furent film√©es √†¬†Monument Valley, le reste en¬†Californie.¬†Yakima Canutt¬†doubla John Wayne, notamment lors de la grande attaque de la diligence. Ce dernier fut tout au long du tournage tyrannis√© par le r√©alisateur, Ford le reprenant sans cesse sur sa fa√ßon de marcher, de jouer, de parler. ¬ę¬†Je l‚Äôaurais tu√©. Il me mettait en rage. Mais Ford savait ce qu‚Äôil faisait. Il savait que j‚Äôavais honte d‚Äô√™tre un cow-boy de westerns de s√©ries B et de me retrouver l√†, en compagnie de ces grandes vedettes.¬†¬Ľ¬†Ford offrit √† son acteur vedette l‚Äôune des ¬ę¬†plus belles entr√©es de star de l‚Äôhistoire du cin√©ma¬†¬Ľ, avec son fameux mouvement de cam√©ra laissant appara√ģtre Ringo Kid, une selle dans une main, un fusil dans l‚Äôautre.



La Chevauch√©e fantastique¬†fut un succ√®s public¬†et re√ßut sept nominations aux¬†Oscar du cin√©ma. Les cons√©quences furent nombreuses ¬†: le¬†western¬†comme genre de cin√©ma fut r√©habilit√© (le critique Frank S. Nugent √©crivit ¬†: ¬ę¬†Dans un grand geste superbe, John Ford a balay√© dix ans d‚Äôartifice et de compromis et a r√©alis√© un film qui fait chanter la cam√©ra¬†¬Ľ) et John Wayne sortit enfin de l‚Äôimpasse dans laquelle il se trouvait depuis le d√©but des ann√©es 1930.

1940-1951 : L’affirmation d’un héros de cinéma américain

Des retrouvailles professionnelles

 John Wayne dans Les Naufrageurs des mers du sud, de Cecil B. DeMille, en 1942.

Le succ√®s international de¬†La Chevauch√©e fantastique¬†fit de John Wayne une star, aupr√®s du public et des r√©alisateurs. Son salaire fut multipli√© par trois, puis par onze en 1946, et il devint alors un des acteurs les plus chers avec¬†Gary Cooper¬†ou¬†Clark Gable. Il retrouva le r√©alisateur¬†Raoul Walsh¬†en 1940 pour un western sur fond de guerre civile,¬†L‚ÄôEscadron noir, avec¬†Claire Trevor. La m√™me ann√©e, il fut engag√© pour incarner un Am√©ricain accueillant des r√©fugi√©s allemands fuyant le r√©gime nazi dans¬†Les D√©racin√©s, et retrouva¬†John Ford¬†pour¬†Les Hommes de la mer. Tourn√© rapidement et pour un co√Ľt relativement modeste, le film ne fut pas un succ√®s public. De plus, Wayne n‚Äô√©tait toujours pas pris au s√©rieux par le r√©alisateur qui ne le pensait pas capable de jouer des r√īles plus complexes. Il tourna un dernier film cette ann√©e 1940,¬†La Maison des sept p√©ch√©s, premi√®re collaboration avec¬†Marl√®ne Dietrich, avec qui il s‚Äôentendit √† merveille33.



Il fut contact√© par le r√©alisateur¬†Cecil B. DeMille. Wayne, qui n‚Äôavait pas oubli√© sa premi√®re rencontre infructueuse avec lui, refusa de jouer dans son film, en lui adressant une longue notice visant √† modifier le sc√©nario. DeMille le rappela, John Wayne se fit prier et, apr√®s plusieurs discussions, DeMille obtint que John Wayne tourn√Ęt dans¬†Les Naufrageurs des mers du sud, en compagnie de¬†Ray Milland¬†et¬†Paulette Goddard,



l‚Äôhistoire d‚Äôun pilleur d‚Äô√©paves dans les Cara√Įbes. Le tournage fut agr√©able, l‚Äôentente parfaite, ce qui fit d√©clarer √† Wayne ¬†: ¬ę¬†Apr√®s avoir tourn√© avec lui, j‚Äôai pu garder la t√™te haute, en d√©pit des films d√©gueulasses que je devais faire pour Republic.¬†¬Ľ L‚Äôann√©e 1942 vit √©galement¬†Lady for a Night, de¬†Leigh Jason¬†avec¬†Joan Blondell¬†pour partenaire.

Apr√®s l‚Äôentr√©e en guerre des¬†√Čtats-Unis, John Wayne voulut s‚Äôengager pour partir combattre en Europe. Mais, mari√© et p√®re de quatre enfants, sa demande fut rejet√©e √† plusieurs reprises. Sa participation se r√©duisit alors √† des visites dans des camps. Il d√©clara plus tard ¬†: ¬ę¬†J‚Äôai toujours eu honte de ne pas avoir combattu. Lorsque j‚Äôinterpr√®te un officier √† la t√™te de son commando, j‚Äôai une pi√®tre opinion de moi-m√™me.¬†¬Ľ

Patriote et soldat au cinéma

JULES DASSIN (qui est aussi le père de Joe Dassin )

Il retrouva¬†Marl√®ne Dietrich¬†en 1942 dans une nouvelle adaptation du roman de¬†Rex Beach,¬†Les √Čcumeurs,¬†avec un jeune premier,¬†Randolph Scott, puis dans¬†La Fi√®vre de l‚Äôor noir, qui connut un accueil chaleureux de la part du public. Wayne incarna √©galement un pilote de l‚Äôarm√©e am√©ricaine combattant les Japonais dans¬†Les Tigres volants, film de propagande r√©alis√© par¬†David Miller.¬†Sacramento, un nouveau western, fut choisi par John Wayne car il devait incarner un pharmacien, une mani√®re de rendre hommage √† son p√®re d√©c√©d√© en 1938.

Les années suivantes, John Wayne tourna une série de films de guerre  : Quelque part en France de Jules Dassin

JULES DASSIN (qui est aussi le père de Joe Dassin )

JULES DASSIN (qui est aussi le père de Joe Dassin )

o√Ļ il incarna un pilote r√©fugi√© en Normandie, puis¬†Alerte aux marines. Aux c√īt√©s d‚Äô¬†Anthony Quinn, il incarna un colonel am√©ricain luttant avec les r√©sistants philippins dans¬†Retour aux Philippines. R√©publicain et patriote, Wayne critiqua par la suite le travail du r√©alisateur¬†Edward Dmytryk, qui fut li√© au parti communiste et figura sur la liste des¬†Dix d‚ÄôHollywood, ainsi que le sc√©nario. Il retrouva ensuite¬†John Ford¬†pour¬†Les Sacrifi√©s¬†– qui se d√©roule pendant la¬†guerre du Pacifique¬†– aux c√īt√©s d‚Äôun jeune acteur,¬†Robert Montgomery. Le film rapporta de l‚Äôargent et se classa parmi les vingt plus gros succ√®s de l‚Äôann√©e.

Entre temps, John Wayne revint au western dans L’Amazone aux yeux verts, revenant sur sa déclaration de ne plus jamais en tourner. Scénarisé et interprété par son ami Paul Fix, le film imposa durablement l’image virile, nonchalante et misogyne de son personnage.

En revanche,¬†King Vidor¬†ne peut le diriger avec¬†Hedy Lamarr¬†dans¬†Duel au soleil¬†(1946), western lyrique et exacerb√© finalement interpr√©t√© par¬†Gregory Peck¬†et¬†Jennifer Jones¬†et devenu un classique. Il encha√ģna par la suite quelques films pass√©s inaper√ßus,¬†La Femme du pionnier,¬†Sans r√©serve¬†avec¬†Claudette Colbert¬†et¬†L‚ÄôAnge et le mauvais gar√ßon. Pour faire ¬ę¬†rentrer l‚Äôargent¬†¬Ľ, il tourna √©galement¬†Ta√Įkoun, de nouveau avec¬†Anthony Quinn. En 1948, John Wayne, devenu une vedette importante, faisait partie des acteurs pr√©f√©r√©s du public am√©ricain, avec¬†Clark Gable,¬†Gary Cooper¬†et¬†Humphrey Bogart.

Hawks, la Cavalerie et le Pacifique

En 1947,¬†John Ford¬†tourna le premier volet d‚Äôune trilogie consacr√©e √† la cavalerie am√©ricaine,¬†Le Massacre de Fort Apache¬†avec pour vedettesHenry Fonda¬†et John Wayne dans un r√īle d‚Äôofficier ¬ę¬†humain et pacifiste¬†¬Ľ. Tourn√© √†¬†Monument Valley¬†pour un budget modeste, le film r√©unit √©galement¬†Ward Bond¬†et¬†Victor McLaglen. John Wayne, habitu√© aux humeurs du r√©alisateur, fut un soutien psychologique pr√©cieux pour le jeune¬†John Agar, martyris√© par Ford48. L‚Äôaccueil public fut chaleureux. Il enchaina avec un r√īle de nouveau refus√© par¬†Gary Cooper, celui de Tom Dunson dans¬†La Rivi√®re rouge¬†de¬†Howard Hawks¬†qui signait l√† son premier western. Dans un r√īle de cow-boy dur et brutal, Wayne eut pour partenaire¬†Montgomery Clift¬†avec qui il ne s‚Äôentendit pas imm√©diatement. Ce film tourn√© en ext√©rieurs fut √©galement un grand succ√®s, rapportant plus de dix millions de dollars. Et s‚Äôil ne fut pas r√©compens√©, John Wayne impressionna¬†John Ford¬†qui d√©clara par la suite √†Hawks¬†: ¬ę¬†Je ne savais pas que ce grand fils de pute pouvait jouer¬†¬Ľ.



En 1948, il engagea à nouveau John Wayne pour Le fils du désert, film en technicolor avec Harry Carey Jr., tourné dans la vallée de la Mort. Wayne tourna ensuite deux films, Le Réveil de la sorcière rouge avec Gail Russell et Le Bagarreur du Kentucky avec Oliver Hardy,

Oliver Hardy

Oliver Hardy

western sans moyens. Deuxi√®me √©pisode de la trilogie de la cavalerie de¬†Ford,¬†La Charge h√©ro√Įque¬†fut tourn√© en 1949 √†¬†Monument Valley¬†et remporta un grand succ√®s. L‚Äôann√©e suivante,¬†Rio Grande, suite du¬†Massacre de Fort Apache, le mit en sc√®ne aux c√īt√©s de¬†Maureen O‚ÄôHaraqui devint une partenaire fid√®le en m√™me temps qu‚Äôune grande amie.

John Wayne enfila de nouveau l‚Äôuniforme de l‚Äôarm√©e am√©ricaine dans trois films¬†:¬†Iwo Jima¬†de¬†Allan Dwan, pour lequel il fut nomm√© aux Oscars56,¬†Op√©ration dans le Pacifique¬†puis¬†Les Diables de Guadalcanal¬†de¬†Nicholas Ray¬†(qui d√©savoua le film par la suite, au m√™me titre que Wayne qui le consid√©rait comme une Ňďuvre mineure), cl√īturant ainsi sa s√©rie de films en hommage aux combattants de la guerre du Pacifique.

1952-1959 : Une incarnation de l’Amérique à l’écran, un héros aux multiples visages

En 1952, John Wayne tourna √† nouveau avec¬†Maureen O‚ÄôHara¬†et¬†John Ford. Si Ford ne peut engager le couple d‚Äôacteurs pour son adaptation de¬†What Price Glory¬†(qu‚Äôils ont jou√© sous sa direction sur sc√®ne), ils se consolent largement avec¬†L‚ÄôHomme tranquille, tourn√© en¬†Irlande¬†(terre des anc√™tres du r√©alisateur), pour un cachet d√©risoire. Le film, qui racontait le retour d‚Äôun boxeur am√©ricain dans son pays d‚Äôorigine, fut un gros succ√®s commercial dans le monde entier¬†et remporta l‚ÄôOscar du Meilleur Film.¬†Big Jim McLain, r√©alis√© la m√™me ann√©e parEdward Ludwig¬†le mettait dans la peau d‚Äôun enqu√™teur de la Commission sur les activit√©s anti-am√©ricaines au service du s√©nateur¬†McCarthy.¬†L‚ÄôHomme de bonne volont√©, r√©alis√© en 1953 par¬†Michael Curtiz¬†ne remporta pas le succ√®s esp√©r√© et orienta de nouveau John Wayne vers des films h√©ro√Įques. Sous la direction de¬†William Wellman, il tourna¬†Aventure dans le Grand Nord, qu‚Äôil coproduisit, et refusa un r√īle principal dans¬†G√©ant¬†(qui fut interpr√©t√© par¬†Rock Hudson). √Čgalement coproducteur de¬†Hondo, l‚Äôhomme du d√©sert, il fut oblig√© de reprendre le r√īle titre, la star du film¬†Glenn Ford¬†√©tant en d√©saccord avec le r√©alisateur, puis retrouva l‚Äô√©quipe de¬†Aventure dans le Grand Nord¬†pour un nouveau film catastrophe,¬†√Čcrit dans le ciel. Le film fut un grand succ√®s public, nomm√© aux¬†Oscars¬†(seule la musique de¬†Dimitri Tiomkin¬†re√ßut la r√©compense). Sa collaboration avec¬†Lana Turner¬†pour¬†Le Renard des oc√©ans¬†fut houleuse, mais il s‚Äôentendit √† merveille avec¬†Lauren Bacall¬†sur le tournage de¬†L‚ÄôAll√©e sanglante, qui fut un succ√®s imm√©diat.

 La Prisonnière du désert a été désigné plus grand western de tous les temps par l’American Film Institute.

Le tournage du¬†Conqu√©rant¬†en 1956 fut √©prouvant65. Produit par¬†Howard Hughes¬†et r√©alis√© par¬†Dick Powell, il mettait en sc√®ne John Wayne dans le r√īle ‚Ķ du chef asiatique¬†Gengis Khan, avec¬†Susan Hayward¬†pour partenaire.


Tourné près d’un site d’essais nucléaires, il fut probablement à l’origine du cancer de l’acteur (et d’une grande partie de l’équipe du film). En outre, il fut un lourd échec au box-office. La même année, Wayne tourna un nouveau western sous la direction de John Ford, La Prisonnière du désert. Tourné sur deux saisons (l’hiver et l’été), à Monument Valley notamment, le film permit à John Wayne de créer un personnage sombre et violent. Le film fut un énorme succès à sa sortie et plusieurs critiques louèrent le travail du réalisateur. En outre, il est aujourd’hui considéré par l’American Film Institute comme le plus grand western de tous les temps.


En 1957, de nouveau avec¬†Ford, il tourna¬†L‚Äôaigle vole au soleil, un film de guerre adapt√© de la biographie du h√©ros Frank Wead, avant d‚Äôenchainer avec un film d‚Äôespionnage,¬†Les espions s‚Äôamusent. Mise en sc√®ne par¬†Joseph von Sternberg, avec l‚Äôactrice¬†Janet Leigh, cette com√©die d‚Äôespionnage √©tait consid√©r√©e par John Wayne comme son plus mauvais film. L‚Äôann√©e suivante, il forma un couple √† l‚Äô√©cran avec¬†Sophia Loren¬†dans¬†La Cit√© disparue, tourn√© en partie en¬†Italie¬†par¬†Henry Hathaway, puis entama le tournage du¬†Barbare et la Geisha, sous la direction de¬†John Huston. Les relations furent souvent tendues entre les deux hommes, et le film fut un √©chec. Wayne fut engag√© de nouveau par¬†Howard Hawks¬†pour jouer dans¬†Rio Bravo, aux c√īt√©s de¬†Dean Martin¬†et¬†Rick Nelson. Construit comme l‚Äôopposition sc√©naristique du¬†Train sifflera trois fois, le film fut un gros succ√®s populaire et critique. Son nouveau projet avec¬†John Ford¬†et¬†William Holden,¬†Les Cavaliers, fut difficile¬†: le sc√©nario √©tait complexe, le r√©alisateur vieillissait, des tensions intervinrent entre les soci√©t√©s de production et un cascadeur se tua sur le tournage.

susan hayward

susan hayward

1960-1976 : La fin du géant

John Wayne r√©alise en 1960¬†Alamo, qui fut une tr√®s belle fresque historique. N√©anmoins le sc√©nariste de ce film se permit quelques libert√©s par rapport aux causes et au d√©roulement de la bataille. En r√©alisant ce film, John Wayne souhaitait montrer l‚Äôabn√©gation des hommes √† d√©fendre une cause qui leur semble juste, telle la r√©publique ou la libert√©. L‚Äôacteur reste fid√®le √† ce genre et retrouve √† plusieurs reprises¬†Henry Hathaway¬†(1960¬†:¬†Le Grand Sam¬†avec¬†Stewart Granger, 1965¬†:¬†Les Quatre Fils de Katie Elder¬†avec¬†Dean Martin, 1969¬†:¬†Cent dollars pour un sh√©rif),¬†Howard Hawks¬†(1966¬†:¬†El Dorado¬†avec¬†Robert Mitchum, 1970¬†:¬†Rio Lobo¬†avec¬†Jennifer O‚ÄôNeill), et bien s√Ľr Ford pour¬†L‚ÄôHomme qui tua Liberty Valance¬†(1962) face √†James Stewart, plus tard tournant beaucoup avec¬†Andrew V. McLaglen¬†(1963¬†:¬†Le Grand McLintock¬†qui r√©unit Wayne avec¬†Maureen O‚ÄôHara¬†et¬†Yvonne De Carlo, 1969¬†:¬†Les G√©ants de l‚ÄôOuest¬†face √†¬†Rock Hudson, 1970¬†:¬†Chisum, 1973¬†:¬†Les Cordes de la potence).


La star continue de privilégier le film d’aventure  : exotique (en 1962 Hatari ! de Hawks), de guerre (en 1962 Le Jour le plus long, en 1965 Première Victoire d’Otto Preminger avec Kirk Douglas, en 1966 L’Ombre d’un géant avec Yul Brynner et Frank Sinatra). Il participe aux superproductions Le Plus Grand Cirque du monde d’Hathaway (1964) avec Rita Hayworth

Rita Hayworth

Rita Hayworth

etClaudia Cardinale¬†et¬†La Plus Grande Histoire jamais cont√©e¬†de¬†George Stevens¬†(1965) o√Ļ il incarne le centurion de la Crucifixion. Finalement il ne se d√©tend vraiment √† l‚Äô√©cran que chez Ford, dans¬†La Taverne de l‚ÄôIrlandais¬†(1963).

Lui-m√™me revient √† la mise en sc√®ne en 1968 pour le tr√®s pol√©mique¬†Les B√©rets verts. L‚Äôessentiel est ailleurs¬†: min√© par la maladie mais toujours tr√®s actif, ce grand s√©ducteur de l‚Äô√©cran s‚Äôoffre un dernier tour avec sa partenaire favorite,¬†Maureen O‚ÄôHara, dans¬†Big Jake¬†en 1971 (que Wayne cor√©alise), et un duel avec une autre g√©ante,¬†Katharine Hepburn, dans le western humoristique¬†Une bible et un fusil¬†(1975). Sur le tard, il tourne deux policiers¬†:¬†Un silencieux au bout du canon¬†de¬†John Sturges¬†(1974) et¬†Brannigan¬†(1975). L‚Äôann√©e de sa mort, sa carri√®re se cl√īt sur un western au titre mythique¬†:¬†Le Dernier des g√©ants, dirig√© par¬†Don Siegel, o√Ļ John retrouve¬†James Stewart¬†et¬†Lauren Bacall. Une √©poque dispara√ģt.

En 1964, on diagnostique chez Wayne un cancer du poumon. Des rumeurs affirment que le responsable de ce cancer était le site nucléaire de Yucca Flat, proche du plateau de cinéma lors du tournage du film Le Conquérant. Patriote, John Wayne pensait que les six paquets de cigarettes qu’il fumait par jour en étaient la cause.

 John Wayne dans Rio Bravo

Toujours pr√©sent √† l‚Äô√©cran dans des premiers r√īles malgr√© la maladie jusqu‚Äôen 1976, il d√©c√®de finalement d‚Äôun cancer de l‚Äôestomac le¬†11¬†juin¬†1979.¬†D‚Äôapr√®s son fils Patrick, il se convertit au¬†catholicisme¬†peu avant sa mort . Il est enterr√© au cimeti√®re de Pacific View √† Corona del Mar.

Engagement politique

John Wayne était connu pour ses opinions patriotiques, anti-communistes et conservatrices. Star du parti républicain, il s’impliqua dans la création de la Motion Picture Alliance for the Preservation of American Ideals, une association américaine de cinéma conservatrice. S’il n’a pas été incorporé pendant la Seconde Guerre mondiale pour des raisons familiales, il a toujours soutenu l’effort de guerre américain  : il incarnera toutes les catégories de soldats américains et cosigne, en 1968, avec Les Bérets verts le seul film américain ouvertement pro-guerre du Vietnam.

En¬†1964, il soutient encore la candidature de¬†Barry Goldwater¬†√† la pr√©sidence des √Čtats-Unis et, en¬†1968, est approch√© pour √™tre lui-m√™me le candidat du parti r√©publicain. Il d√©clina la proposition au pr√©texte qu‚Äôil ne pensait pas que le public pourrait envoyer un acteur √† la¬†Maison-Blanche. Il fut m√™me approch√© pour √™tre le colistier du candidat¬†dixiecrat¬†George Wallace. Il ne donna pas suite. John Wayne fut cependant un ardent soutien de son ami, l‚Äôacteur¬†Ronald Reagan, lors de ses candidatures au poste de gouverneur de¬†Californie¬†en¬†1966¬†et¬†1970.


Il est le père de Michael Wayne (19342003), acteur et producteur, et de Patrick Wayne (né en 1939), acteur.


Le Congr√®s am√©ricain lui d√©cerne le 26 mai 1979 la¬†M√©daille d‚Äôor du Congr√®s¬†(plus haute distinction civile qui puisse √™tre accord√©e √† un citoyen). √Čv√©nement exceptionnel car cette d√©coration ne fut d√©cern√©e que deux fois √† des acteurs du cin√©ma, John Wayne et Francis Albert Sinatra, dit¬†Frank Sinatra, le 14 mai 1997.

John Wayne the legend

John Wayne the legend


Vous pouvez lire aussi   / You can real also :  Angie Dickinson (Rio Bravo)







Wikipedia sources: 

Cary Grant¬†(born¬†Archibald Alexander Leach; January 18, 1904 ‚Äď November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his¬†transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of¬†classic Hollywood‘s definitive¬†leading men.


Notorious¬†(1946),¬†The Bishop’s Wife¬†(1947),¬†To Catch a Thief¬†(1955),¬†An Affair to Remember¬†(1957),¬†North by Northwest¬†(1959), and¬†Charade¬†(1963).

Nominated twice for the¬†Academy Award for Best Actor¬†(Penny Serenade¬†and¬†None But the Lonely Heart) and five times for a¬†Golden Globe Award for Best Actor, Grant was continually passed over. In 1970, he was presented an¬†Honorary Oscar¬†at the¬†42nd Academy Awards¬†by¬†Frank Sinatra¬†“for his unique mastery of the art of screen acting with the respect and affection of his colleagues

Early life and career

Archibald Alexander Leach was born at 15 Hughenden Road,¬†Horfield,¬†Bristol,¬†England, to Elsie Maria (n√©e Kingdon) Leach (1877‚Äď1973) and Elias James Leach (1873‚Äď1935).¬†An only child, Leach had an unhappy upbringing, attending¬†Bishop Road Primary School.



His mother had suffered from¬†clinical depression¬†since the death of a previous child. Her husband placed her in a¬†mental institution¬†and told his 9-year-old son only that she had gone away on a “long holiday”. Believing she was dead, Leach did not learn otherwise until he was 31 and discovered her alive in a care facility.¬†¬†When Leach was 10, his father abandoned him after remarrying and having a baby with his new young wife.¬†

Leach was expelled from the¬†Fairfield Grammar School¬†in Bristol in 1918. After joining the “Bob Pender Stage Troupe”, Leach performed as a¬†stilt walker¬†and traveled with the group to the United States in 1920 at the age of 16 on the¬†RMS¬†Olympic, on a two-year tour of the country. He was processed at¬†Ellis Island¬†on July 28, 1920.

When the troupe returned to the UK, he decided to stay in the U.S. and continue his stage career. During this time, he became a part of thevaudeville world and toured with Parker, Rand, and Leach.


Still using his birth name, he performed on the stage at¬†The Muny¬†in¬†St. Louis,Missouri, in such shows as¬†Irene¬†(1931),¬†Music in May¬†(1931),¬†Nina Rosa¬†(1931),¬†Rio Rita¬†(1931),¬†Street Singer¬†(1931),¬†The Three Musketeers¬†(1931), and¬†Wonderful Night¬†(1931). Leach’s experience on stage as a stilt walker, acrobat, juggler, and¬†mime¬†taught him “phenomenal physical grace and exquisite comic timing” and the value of teamwork, skills which would benefit him in Hollywood.

Leach became a naturalized United States citizen on June 26, 1942, at which time he also legally changed his name from “Archibald Alexander Leach” to “Cary Grant”.

After appearing in several musicals on¬†Broadway¬†under the name Archie Leach,¬†Leach went to Hollywood in 1931.¬†¬†When told to change his name, he proposed “Cary Lockwood”, the name of the character he had played in the Broadway show¬†Nikki, based upon the recent film¬†The Last Flight.


He signed with¬†Paramount Pictures, where studio bosses decided that the name “Cary” was acceptable but that “Lockwood” was too similar to another actor’s surname. Paramount gave their new actor a list of surnames to choose from, and he selected “Grant” because the initials C and G had already proved lucky for¬†Clark Gable¬†and¬†Gary Cooper, two of Hollywood’s biggest film stars.

Grant appeared as a leading man opposite¬†Marlene Dietrich¬†in¬†Blonde Venus¬†(1932), and his stardom was given a further boost by¬†Mae Westwhen she chose him for her leading man in two of her most successful films,¬†She Done Him Wrong¬†and¬†I’m No Angel¬†(both 1933).¬†¬†

I’m No Angel¬†was a tremendous financial success and, along with¬†She Done Him Wrong, which was nominated for an¬†Academy Award for Best Picture, saved Paramount from bankruptcy. Paramount put Grant in a series of unsuccessful films until 1936, when he signed with¬†Columbia Pictures. His first major comedy hit was when he was loaned to¬†Hal Roach‘s studio for the 1937¬†Topper¬†(which was distributed by¬†MGM).

The Awful Truth¬†(1937) was a pivotal film in Grant’s career, establishing for him a screen persona as a sophisticated light comedy leading man. As Grant later wrote, “I pretended to be somebody I wanted to be and I finally became that person. Or he became me. Or we met at some point.”¬†¬†Grant is said to have based his characterization in¬†The Awful Truth¬†on the mannerisms and intonations of the film’s director,¬†Leo McCarey, whom he resembled physically. As writer/director¬†Peter Bogdanovich¬†noted, “After¬†The Awful Truth, when it came to light comedy, there was Cary Grant and then everyone else was an also-ran.”



The Awful Truth¬†began what¬†The Atlantic¬†later called “the most spectacular run ever for an actor in American pictures”. ¬†¬†During the next four years, Grant appeared in several classic¬†romantic comedies¬†and¬†screwball comedies, including¬†Holiday¬†(1938) and¬†Bringing Up Baby¬†(1938), both opposite¬†Katharine Hepburn;¬†The Philadelphia Story¬†(1940) with Hepburn and¬†James Stewart;¬†His Girl Friday¬†(1940) with¬†Rosalind Russell; and¬†My Favorite Wife¬†(1940), which reunited him with¬†Irene Dunne, his co-star in¬†The Awful Truth. During this time, he also made the adventure films¬†Gunga Din¬†(1939) with¬†Douglas Fairbanks, Jr.¬†and¬†Only Angels Have Wings¬†(1939) with¬†Jean Arthur¬†and¬†Rita Hayworth¬†and dramas¬†Penny Serenade¬†(1941), also with Dunne, and¬†Suspicion¬†(1941), the first of Grant’s four collaborations with¬†Alfred Hitchcock.

Grant remained one of Hollywood’s top box-office attractions for almost 30 years.¬†¬†Howard Hawks¬†said that Grant was “so far the best that there isn’t anybody to be compared to him”.[15]¬†David Thomson¬†called him “the best and most important actor in the¬†history of the cinema“.

Grant was a favorite of Hitchcock, who called him “the only actor I ever loved in my whole life”. ¬†


Besides¬†Suspicion, Grant appeared in the Hitchcock classics¬†Notorious¬†(1946),¬†To Catch a Thief(1955), and¬†North by Northwest¬†(1959). Biographer Patrick McGilligan wrote that in 1965 Hitchcock asked Grant to star in¬†Torn Curtain¬†(1966) only to learn that Grant had decided to retire after making one more film,¬†Walk, Don’t Run¬†(1966);¬†

Paul Newman was cast instead, oppositeJulie Andrews.   Producers Broccoli and Saltzman originally sought Cary Grant for the role of James Bond in Dr. No but discarded the idea as Grant would be committed to only one feature film and the producers decided to go after someone who could be part of a franchise.

In the mid-1950s, Grant formed his own production company, Granart Productions, and produced a number of films distributed by¬†Universal, such as¬†Operation Petticoat¬†(1959),¬†Indiscreet¬†(1958),That Touch of Mink¬†(co-starring with¬†Doris Day, 1962), and¬†Father Goose¬†(1964). In 1963, he appeared opposite¬†Audrey Hepburn¬†in¬†Charade. His last feature film was¬†Walk, Don’t Run¬†three years later, with¬†Samantha Eggar¬†and¬†Jim Hutton.

Grant was the first actor to “go independent” by not renewing his studio contract, effectively leaving the¬†studio system,¬†¬†which almost completely controlled what an actor could or could not do. In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term.

He decided which films he was going to appear in, often had personal choice of directors and co-stars, and at times even negotiated a share of the gross revenue, something uncommon at the time. Grant received more than $700,000 for his 10% of the gross for To Catch a Thief while Hitchcock received less than $50,000 for directing and producing it.


Grant was nominated for two¬†Academy Awards, for¬†Penny Serenade¬†(1941) and¬†None But the Lonely Heart¬†(1944), but never won a competitive Oscar; he received a special¬†Academy Award for Lifetime Achievement¬†in 1970. Accepting the¬†Best Original Screenplay¬†Oscar in 1965,¬†Father Goose¬†co-writer Peter Stone had quipped, “My thanks to Cary Grant, who keeps winning these things for other people.” In 1981, Grant was accorded the¬†Kennedy Center Honors.

Grant poked fun at himself with statements such as “Everyone wants to be Cary Grant‚ÄĒeven I want to be Cary Grant”,¬†and in ad-lib lines‚ÄĒsuch as in the film¬†His Girl Friday, saying, “I never had so much fun since Archie Leach died”. In¬†Arsenic and Old Lace¬†(1944), a gravestone is seen bearing the name Archie Leach. According to a famous story now believed to be apocryphal, after seeing a¬†telegram¬†from a magazine editor to his agent asking “How old Cary Grant?” Grant reportedly responded with “Old Cary Grant fine. How you?

Cary Grant retired from the screen at 62 when his daughter Jennifer was born, in order to focus on bringing her up and to provide a sense of permanency and stability in her life.

While bringing up his daughter, he archived artifacts of her childhood and adolescence in a bank-quality room-sized vault he had installed in the house.

His daughter attributed this meticulous collection to the fact that artifacts of his own childhood had been destroyed during the¬†Luftwaffe’s bombing of Bristol¬†in the¬†Second World War¬†(an event that also claimed the lives of his uncle, aunt, and cousin as well as the cousin’s husband and grandson), and he may have wanted to prevent her from experiencing a similar loss.

Although Grant had retired from the screen, he remained active.



In the late 1960s, he accepted a position on the board of directors at Fabergé. By all accounts this position was not honorary, as some had assumed; Grant regularly attended meetings and his mere appearance at a product launch would almost certainly guarantee its success. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.


He later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), Western Airlines (now Delta Air Lines), andMGM.

He was a keen motoring enthusiast and, like many other Hollywood stars of the era, owned many notable cars. One of the first he owned was a 1929 Cadillac Cabriolet. His love of Cadillacs never waned and he later purchased a Cadillac Eldorado Biarritz. Other cars that he owned included an MG Magnette and a Sunbeam Alpine series one roadster.

In the last few years of his life, Grant undertook tours of the United States in a one-man show,¬†A Conversation with Cary Grant, in which he would show clips from his films and answer audience questions. Grant was preparing for a performance at the¬†Adler Theatre¬†in¬†Davenport,¬†Iowa, on the afternoon of November 29, 1986, when he sustained a¬†cerebral hemorrhage¬†(he had previously suffered a stroke in October 1984). His wife did not know what was going on and she went to a local pharmacy to get aspirin. He died at 11:22¬†p.m.¬†¬†in¬†St. Luke’s Hospital¬†at the age of 82.

The bulk of his estate, worth millions of dollars, went to his fifth wife, Barbara Harris, and his daughter, Jennifer Grant

In 2001, a statue of Grant was erected in Millennium Square, a regenerated area next to Bristol Harbour in his city of birth, Bristol.

In November 2005, Grant came in first in the “The 50 Greatest Movie Stars of All Time” list by¬†Premiere¬†magazine. ¬†Richard Schickel, the film critic, said about Grant: “He’s the best star actor there ever was in the movies.




Year Film Role Notes
1932 This Is the Night Stephen With Lili Damita, Charles Ruggles, and Thelma Todd
Sinners in the Sun Ridgeway With Carole Lombard and Chester Morris
Singapore Sue First Sailor Musical Comedy short subject
Merrily We Go to Hell Charlie Baxter UK title: Merrily We Go to _____With Sylvia Sidney and Fredric March
Devil and the Deep Lieutenant Jaeckel With Tallulah Bankhead and Gary Cooper
Blonde Venus Nick Townsend With Marlene Dietrich
Hot Saturday Romer Sheffield With Nancy Carroll and Edward Woods
Madame Butterfly Lieutenant B.F. Pinkerton With Sylvia Sidney and Charles Ruggles
1933 She Done Him Wrong Capt. Cummings With Mae West and Noah Beery, Sr.
The Woman Accused Jeffrey Baxter With Nancy Carroll
The Eagle and the Hawk Henry Crocker With Fredric March and Carole Lombard
Gambling Ship Ace Corbin With Jack La Rue and Glenda Farrell
I’m No Angel Jack Clayton With¬†Mae West
Alice in Wonderland The Mock Turtle With W. C. Fields and Gary Cooper
1934 Thirty-Day Princess Porter Madison III With Sylvia Sidney and Edward Arnold
Born to Be Bad Malcolm Trevor With Loretta Young(Heavily censored by the Hayes Office)
Kiss and Make-Up Dr. Maurice Lamar With Helen Mack and the WAMPAS Baby Stars of 1934
Ladies Should Listen Julian De Lussac With Frances Drake and Edward Everett Horton
1935 Enter Madame Gerald Fitzgerald With top-billed Elissa Landi
Wings in the Dark Ken Gordon With top-billed Myrna Loy
The Last Outpost Michael Andrews With Claude Rains
Sylvia Scarlett Jimmy Monkley Directed by George CukorWith Katharine Hepburn
1936 Big Brown Eyes Det. Sgt. Danny Barr With Joan Bennett and Walter Pidgeon
Suzy Andre With Jean Harlow and Franchot Tone
The Amazing Quest of Ernest Bliss Ernest Bliss US title: Romance and RichesAlt title: The Amazing Adventure
Wedding Present Charlie With Joan Bennett
1937 When You’re in Love Jimmy Hudson UK title:¬†For You AloneWith¬†Grace Moore
Topper George Kerby With Constance Bennett
The Toast of New York Nicholas “Nick” Boyd With¬†Edward Arnold¬†and¬†Jack Oakie
The Awful Truth Jerry Warriner Directed by Leo McCarey
With Irene Dunne and Ralph Bellamy
Introduced the “Cary Grant persona”
1938 Bringing up Baby Dr. David Huxley Directed by Howard Hawks
With Katharine Hepburn and Charles Ruggles
Holiday John “Johnny” Case Directed by George Cukor
With Katharine Hepburn
UK title: Free to Live
1939 Gunga Din Sgt. Archibald Cutter Directed by George Stevens
With Victor McLaglen and Douglas Fairbanks, Jr.
Only Angels Have Wings Geoff Carter Directed by Howard Hawks
With Jean Arthur, Thomas Mitchell and Rita Hayworth
In Name Only Alec Walker With Carole Lombard and Charles Coburn
1940 His Girl Friday Walter Burns Directed by Howard Hawks
Remake of The Front Page
With Rosalind Russell and Ralph Bellamy
My Favorite Wife Nick Co-written by Leo McCarey
Directed by Garson Kanin
With Irene Dunne and Gail Patrick
The Howards of Virginia Matt Howard UK title: The Tree of Liberty
With Martha Scott
The Philadelphia Story C.K. Dexter Haven With Katharine Hepburn and James Stewart
1941 Penny Serenade Roger Adams Nominated‚ÄĒAcademy Award for Best Actor
Directed by George Stevens
With Irene Dunne and Edgar Buchanan
Suspicion Johnnie Directed by Alfred Hitchcock
With Joan Fontaine
1942 The Talk of the Town Leopold Dilg aka Joseph With Ronald Colman and Jean Arthur
Once Upon a Honeymoon Patrick “Pat” O’Toole Directed by¬†Leo McCarey
With Ginger Rogers
1943 Mr. Lucky Joe Adams/Joe Bascopolous With Laraine Day and Charles Bickford
Destination Tokyo Capt. Cassidy With John Garfield and Dane Clark
1944 Once Upon a Time Jerry Flynn With Janet Blair
Arsenic and Old Lace Mortimer Brewster With Priscilla Lane and Peter Lorre
None But the Lonely Heart Ernie Mott Nominated‚ÄĒAcademy Award for Best ActorWritten and directed by¬†Clifford Odets
With Ethel Barrymore
1946 Without Reservations Himself (cameo) With Claudette Colbert and John Wayne
Night and Day Cole Porter Directed by Michael Curtiz
Notorious T.R. Devlin Directed by Alfred Hitchcock
With Ingrid Bergman and Claude Rains
1947 The Bachelor and the Bobby-Soxer Dick UK title: Bachelor KnightWith Myrna Loy and Shirley Temple
The Bishop’s Wife Dudley With¬†Loretta Young¬†and¬†David Niven
1948 Mr. Blandings Builds His Dream House Jim Blandings With Myrna Loy and Melvyn Douglas
Every Girl Should Be Married Dr. Madison W. Brown With Betsy Drake
1949 I Was a Male War Bride Capt. Henri Rochard UK title:¬†You Can’t Sleep Here
With Ann Sheridan
1950 Crisis Dr. Eugene Norland Ferguson With Jose Ferrer
1951 People Will Talk Dr. Noah Praetorius With Jeanne Crain
1952 Room for One More George “Poppy” Rose With¬†Betsy Drake
Monkey Business Dr. Barnaby Fulton Directed by Howard Hawks
With Ginger Rogers and Marilyn Monroe
1953 Dream Wife Clemson Reade With Deborah Kerr and Walter Pidgeon
1955 To Catch a Thief John Robie Directed by Alfred Hitchcock
With Grace Kelly
1957 The Pride and the Passion Anthony With Frank Sinatra and Sophia Loren
An Affair to Remember Nickie Ferrante A same-script remake of Love Affair (1939 film), both directed by Leo McCareyWith Deborah Kerr
Kiss Them for Me Cmdr. Andy Crewson Directed by Stanley Donen
With Jayne Mansfield and Suzy Parker
1958 Indiscreet Philip Adams Nominated‚ÄĒGolden Globe Award for Best Actor ‚Äď Motion Picture Musical or Comedy
Directed by Stanley Donen
With Ingrid Bergman
Houseboat Tom Winters With Sophia Loren
1959 North by Northwest Roger O. Thornhill Directed by Alfred HitchcockWith Eva Marie Saint, James Mason and Martin Landau
Famous scene of Grant being chased by a biplane
Operation Petticoat Lt. Cmdr. Matt T. Sherman Nominated‚ÄĒGolden Globe Award for Best Actor ‚Äď Motion Picture Musical or Comedy
With¬†Dina Merrill¬†and¬†Arthur O’Connell
1960 The Grass Is Greener Victor Rhyall, Earl Nominated‚ÄĒGolden Globe Award for Best Actor ‚Äď Motion Picture Musical or ComedyDirected by¬†Stanley Donen
With Deborah Kerr, Robert Mitchum and Jean Simmons
1962 That Touch of Mink Philip Shayne Nominated‚ÄĒGolden Globe Award for Best Actor ‚Äď Motion Picture Musical or Comedy
Directed by Delbert Mann
With Doris Day and Gig Young
1963 Charade Peter Joshua / Alexander Dyle / Adam Canfield / Brian Cruikshank Nominated‚ÄĒBAFTA Award for Best Foreign Actor
Nominated‚ÄĒGolden Globe Award for Best Actor ‚Äď Motion Picture Musical or Comedy
Directed by Stanley Donen
With Audrey Hepburn, Walter Matthau and James Coburn
1964 Father Goose Walter Christopher Eckland Directed by Ralph Nelson
With Leslie Caron and Trevor Howard
1966 Walk, Don’t Run Sir William Rutland With¬†Samantha EggarRemake¬†of¬†The More the Merrier

 CARY GRANT : Here also another article

A lire aussi ( A french article)




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