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Anne Revere

Anne Revere


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Anne Revere was born in New York on 25th June, 1903. The family moved to Westfield, New Jersey when she was a child. In 1926, she graduated from Wellesley College and then studied acting with Maria Ouspenskaya and Richard Boleslavsky.

In 1931 Revere made her Broadway in The Great Barrington. Three years later she appeared as Martha Dobie in the original 1934 production of The Children's Hour. The play written by Lillian Hellman, is set in an all-girls boarding school run by two women, Dobie and Karen Wright (Katherine Emery). An angry student, Mary Tilford, runs away from the school and to avoid being sent back she tells her grandmother that the two headmistresses are having a lesbian affair."

Revere now moved to Hollywood where she appeared in Double Door (1934). Over the next few years she mainly acted in plays but also appeared in several movies including, One Crowded Night (1940), The Tree of Liberty (1940), The Devil Commands (1941), Men of Boys Town (1941), The Flame of New Orleans (1941), Meet the Stewarts (1942), Shantytown (1943), The Song of Bernadette (1943), Rainbow Island (1944), National Velvet (1944) and Forever Amber (1947).

In 1947 Revere became involved in a film project, Gentleman's Agreement, that attempted to deal with the dangerous topic of anti-Semitism. Directed by Elia Kazan, it included a cast of people that shared Revere's left-wing opinions including John Garfield, Gregory Peck, Sam Jaffe, Joan Havoc and Jane Wyatt. The authors of Radical Hollywood (2002) have argued: "Garfield, as the returning Jewish soldier tired of hearing liberal talk about the 'poor little Jews', who hits the hardest, virtually demanding social change; and Anne Revere, the protagonist's mother, who vows to live on to see a better world." The film was a great success and won three Academy Awards.

During this period the House of Un-American Activities Committee (HUAC) opened its hearings concerning communist infiltration of the motion picture industry. The chief investigator for the committee was Robert E. Stripling. The first people it interviewed included Ronald Reagan, Gary Cooper, Ayn Rand, Jack L. Warner, Robert Taylor, Adolphe Menjou, Robert Montgomery, Walt Disney, Thomas Leo McCarey and George L. Murphy. These people named several possible members of the American Communist Party.

As a result their investigations, the HUAC announced it wished to interview nineteen members of the film industry that they believed might be members of the American Communist Party. This included Larry Parks, Herbert Biberman, Alvah Bessie, Lester Cole, Albert Maltz, Adrian Scott, Dalton Trumbo, Edward Dmytryk, Ring Lardner Jr., Samuel Ornitz, John Howard Lawson, Waldo Salt, Bertolt Brecht, Richard Collins, Gordon Kahn, Robert Rossen, Lewis Milestone and Irving Pichel.

The first ten witnesses called to appear before the HUAC, Biberman, Bessie, Cole, Maltz, Scott, Trumbo, Dmytryk, Lardner, Ornitz and Lawson, refused to cooperate at the September hearings and were charged with "contempt of Congress". Known as the Hollywood Ten, they claimed that the 1st Amendment of the United States Constitution gave them the right to do this. The courts disagreed and each was sentenced to between six and twelve months in prison. The case went before the Supreme Court in April 1950, but with only Justices Hugo Black and William Douglas dissenting, the sentences were confirmed.

On 8th March, 1951, the HUAC committee began an "Investigation of Communism in the Entertainment Field". The chairman was John S. Wood, and other members included Harold Velde of Illinois, Francis Walter of Pennsylvania, Morgan M. Moulder of Missouri, Clyde Doyle of California, James B. Frazier of Tennessee, Bernard W. Kearney of New York and Charles E. Potter of Michigan. Louis Russell was the senior investigator and Frank S. Tavenner, was chief counsel.

Larry Parks gave evidence on 21st March, 1951. He admitted that he joined the American Communist Party in 1941 because it "fulfilled certain needs of a young man that was liberal of thought, idealistic, who was for the underprivileged, the underdog". At first he refused to name other members of the party: "I would prefer not to mention names, if it is at all possible, of anyone. I don't think it is fair to people to do this. I have come to you at your request. I have come and willingly tell you about myself. I think that, if you would allow me, I would prefer not to be questioned about names. And I will tell you everything that I know about myself, because I feel I have done nothing wrong, and 1 will answer any question that you would like to put to me about myself. I would prefer, if you will allow me, not to mention other people's names."

However, Parks did agree to name members in a private session of the HUAC. This included Anne Revere, Joseph Bromberg, Lee J. Cobb, Morris Carnovsky, John Howard Lawson, Karen Morley, Gale Sondergaard, Dorothy Tree, Roman Bohnan, Lloyd Gough and Victor Kilian. Three days later Paul Jarrico, who was due to appear before the HUAC, told the New York Times, that he was unwilling to follow the example of Parks: "If I have to choose between crawling in the mud with Larry Parks or going to jail like my courageous friends of the Hollywood Ten, I shall certainly choose the latter."

Anne Revere appeared before the House of Un-American Activities Committee on 17th April, 1951. She refused to answer the questions because she believed if she did so she would be aiding the HUAC in its "attempt to overthrow the American system". Revere argued: "Mr. Tavenner and gentlemen, this would seem to me, based upon my observation in the course of the week in which I have listened to these testimonies, to be the first in a possible series of questions which would attempt in some manner to link me with subversive organizations; and as the Communist Party is a political party - legal political party - in this country today, and as I consider any questioning regarding one's political views or religious views as a violation of the rights of a citizen under our Constitution, and as I would consider myself, therefore, contributing to the overthrow of our form of government as I understand it if I were to assist you in violating this privilege of mine and other citizens of this country, I respectfully decline to answer this question on the basis of the fifth amendment, possible self-incrimination, and also the first amendment."

Revere was now blacklisted and did not appear in a Hollywood movie until Tell Me That You Love Me in 1970. This was followed by Macho Callahan (1970) and Birch Interval (1977).

Anne Revere died on 18th December, 1990.

Mr. Tavenner and gentlemen, this would seem to me, based upon my observation in the course of the week in which I have listened to these testimonies, to be the first in a possible series of questions which would attempt in some manner to link me with subversive organizations; and as the Communist Party is a political party - legal political party - in this country today, and as I consider any questioning regarding one's political views or religious views as a violation of the rights of a citizen under our Constitution, and as I would consider myself, therefore, contributing to the overthrow of our form of government as I understand it if I were to assist you in violating this privilege of mine and other citizens of this country, I respectfully decline to answer this question on the basis of the fifth amendment, possible self-incrimination, and also the first amendment.

You, the Board of the Screen Actors Guild, point with pride to your seven-year fight against the Communist conspiracy. What have you accomplished? You have sanctioned the blacklist of 23 of your fellow members because they chose to defy an unconstitutional investigation into their thoughts and beliefs. Have you given strength to the industry by depriving those artists of their art and bread? Or have you further incapacitated the industry and the art which you profess to nourish? For seven years you have purged the screen of 'dangerous ideas.' With what results? The obliteration of all ideas. And people. Behold an industry that once bestrode the envious pinnacle of world leadership, now so paralyzed with fear that the screen is now inhabited solely by three-dimensional spooks and men from Mars. But there is still hope. The invalid is sick but not dead. Unlock the dungeon doors. Give him fresh air and sunshine. Take off the straitjacket and let him move about with freedom. But above all, return his conscience which you have filched from him.


Anne Revere - History

Best known for her Oscar winning role in the film National Velvet, Anne Revere was born on June 25, 1903. Born in New York, New York, Anne Revere was a remote relative of the famous silversmith and Revolutionary hero Paul Revere. She received her college education at Wellesley College and was determined to be an actress. She continued her training for the stage at the American Laboratory Theater. She briefly worked in stock productions and made her first appearance on Broadway in 1931. In 1934 she performed in the film version of one of the plays in which she had appeared on Broadway, Double Door.

She moved to Hollywood in 1940 and achieved a short but noteworthy career as a character actress, performing in 31 films in the 1940s. She often played the role of the supportive and morally sound mother. In 1943 she portrayed the devoted mother of Bernadette (played by Jennifer Jones) in The Song of Bernadette, the tale of the French peasant girl who saw a vision of the Virgin Mother in the grotto of Lourdes thus changing the town forever. Revere was nominated for an Oscar as Best Supporting Actress. In 1944 Revere was cast as the mother of twelve-year-old Elizabeth Taylor in National Velvet. This film became a classic and launched Taylor’s long career. Revere was nominated and won the Oscar for Best Supporting Actress for her role as Mrs. Brown in the film.

In 1947 Revere portrayed yet another mother, the ailing supportive parent of Gregory Peck’s character in Gentleman’s Agreement. In this movie Peck played a young writer researching anti-Semitism by pretending to be Jewish. The film garnered eight Academy Award nominations with Revere nominated for Best Supporting Actress. She lost to her co-star in the same film, Celeste Holm, who played Peck’s coworker and romantic interest. Some of Revere’s other film credits include roles in The Howards of Virginia (1940), Men of Boys Town (1941), The Flame of New Orleans (1941), The Falcon Takes Over (1942), Keys of the Kingdom (1944), The Thin Man Goes Home (1944), Dragonwyck (1946), and Forever Amber (1947). She played another upright mother in Body and Soul (1947), Robert Rossen’s film that some characterized as a moral indictment of the American dream.

In 1947 the House Un-American Activities Committee arrived in Hollywood, seeking to remove all traces of Communism and left-wing ideas from the film industry. Some in the Hollywood community cooperated and gave the names of those suspected of Communist sympathies. Others refused to participate in the blacklisting process. When Revere was called to testify in 1951, she refused and was blacklisted. Revere was reported to have said, “I’m a free thinking Yankee rebel and nobody’s going to tell me what to do!”

Revere served as treasurer of the Screen Actors Guild and in 1953 she wrote a scathing letter to her fellow SAG Board members regarding their actions during this period of history. Revere’s letter was read at Hollywood Remembers the Blacklist, an event held on October 27, 1997, commemorating the 50th anniversary of the start of the House of Representatives Un-American Activities Committee hearings. As a result of the blacklist, several hundred screen artists were denied work in their profession for over a decade. Research indicates that over 500 people from the entertainment industry were listed, including Humphrey Bogart, Lillian Hellman, Lee Grant, Zero Mostel, Jean Muir and folksinger Pete Seeger.

Revere’s last role before her long absence from film-making due to the blacklisting was as Montgomery Clift’s mother in A Place in the Sun (1951). Even this role was cut due to her name being on the list. Revere’s screen career ended. But she returned to the stage in 1960, winning a Tony award for her performance in Lillian Hellman’s Toys in the Attic. In 1962 she began acting in television productions. She appeared in the made-for-television movie Two for the Money (1971) as Mrs. Gap. Finally in 1970 after 19 years away from the screen she appeared in Tell Me That You Love Me, Junie Moon. Her final film appearance was in Birch Interval (1977).

Anne Revere is buried at Mount Auburn in Lot 11002 near the Azalea Garden Wall. Her name is inscribed on the granite stone wall that embellishes the landscape of the area.

Adapted from the research of Janet Heywood and Laura M. Gosman, as published in Mount Auburn’s Person of the Week: Anne Revere, 2003.

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Anne Revere

Anne Revere (1903-1990) was a stage and film character actress who won the Best Supporting Actress Academy Award as Elizabeth Taylor's mother in National Velvet (1944).

She guest starred on Sesame Street during Season 8 (in Episode 0965), playing Mrs. Sharp, "a temporary worker" in Hooper's Store. Her character was part of an endeavor that season to include more women characters, and in non-stereotyped roles. Ώ]

After training with Maria Ouspenskaya at the American Laboratory School, Revere established herself on Broadway in the 1930s, most notably originating the part of Caroline Van Brett in the Gothic melodrama Double Door (1933, a part she reprised in the Hollywood film the next year) and taking a rare lead role in The Children's Hour as Martha, one of the two teachers accused of lesbianism. Due to the play's controversial subject matter, Revere participated in the legal fight for the show to play in Boston. ΐ]

In 1939, after a run in Chekhov's The Three Sisters, Revere relocated to Hollywood, swiftly establishing herself as an in-demand player in a variety of distinguished films, most often as mothers (to a slew of top stars) or eccentric spinsters. Her credits included Men of Boys Town, The Song of Bernadette (Oscar nominated as Jennifer Jones' mother), The Meanest Man in the World (as Jack Benny's secretary), The Thin Man Goes Home (as shotgun wielding local Crazy Mary), and Dragonwyck (with Vincent Price, as Gene Tierney's mother). 1947 proved to be an especially productive year, as Revere played key roles in Body and Soul and Gentleman's Agreement (garnering her third and final Oscar nomination as Gregory Peck's mother).

However, she soon found herself curtailed by the Red Scare, when she was called before the HUAC and refused to testify in 1951 (after shooting A Place in the Sun). When interviewed in later years, Revere said that during her Hollywood days, "I got to know communists and Communism [but] I knew it wasn't for me. I'm a free-thinking Yankee rebel and nobody's going to tell me what to do," ΐ] an attitude she extended to the HUAC.

As a result, Revere was blacklisted, returning to the stage but working only sporadically on Broadway, though she garnered a Tony Award for Best Featured Actress in Toys in the Attic (1960), and the very rare TV spot. She had a comeback of sorts in the 1970s, taking a small role in Otto Preminger's Tell Me That You Love Me, Junie Moon (1970, starring Liza Minnelli) and playing a rural herbalist/"witch" in Birch Interval (1975). On television, in addition to Sesame Street, she appeared on soap operas with recurring roles on Edge of Night, Search for Tomorrow, and Ryan's Hope, plus guest parts on The Six Million Dollar Man and Barretta.


Rise of the Klan

Keeping out African-Americans happened well before the 19th and 20 th century. In 1717, Town Meeting in New London, Conn., voted against free blacks living in the town or owning land anywhere in the colony.

But in the 1890s, racism deepened in the North as memories of the Civil War faded. Waves of Catholic and Jewish immigrants from Canada and southern Europe moved into Yankee mill towns. The influx of immigrants sparked the revival of the Ku Klux Klan — and created sundown towns.

The Klan in London, Ontario

The Klan spread rapidly in Maine, with 15,000 showing up at the state convention in 1923. The KKK held its first daylight parade in the United States in Milo, Maine, in 1923, and others soon followed.

In 1925, The Washington Post estimated New England had more than a half-million Klansmen, with 150,141 in Maine and more than 370,000 across the other New England states.

Though Klan membership fell almost as quickly as it grew in New England, the KKK left a legacy of sundown towns. Their history is rarely told.


Anne Revere American Actress

Anne Revere was previously married to Samuel Rosen.

About

American Actress Anne Revere was born on 25th June, 1903 in New York City, NY, USA and passed away on 18th Dec 1990 Locust Valley, New York, USA aged 87. She is most remembered for Oscar for National Velvet (1944). Her zodiac sign is Cancer.

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Details

First Name Anne
Last Name Revere
Alternative Name Ann Revere
Age 87 (age at death) years
Birthday 25th June, 1903
Birthplace New York City, NY, USA
Died 18th December, 1990
Place of Death Locust Valley, New York, USA
Cause of Death Pneumonia
Height 5' 5" (165 cm)
Build Average
Hair Color Brown - Dark
Zodiac Sign Cancer
Sexuality Straight
Ethnicity White
Nationality American
University Wellesley College
Occupation Text Actress
Occupation Actress
Claim to Fame Oscar for National Velvet (1944)
Year(s) Active 1931󈞷, 1931�
Official Websites www.nndb.com/people/081/000063889/, www.findagrave.com/memorial/6675752/anne-revere, www.nytimes.com/1990/12/19/obituaries/anne-revere-87-actress-dies-was-movie-mother-of-many-stars.html
Family Member Paul Revere (ancestor)
Friend Maria Ouspenskaya, Richard Boleslavsky

Anne Revere (June 25, 1903 – December 18, 1990) was an American actress and a progressive member of the board of the Screen Actors' Guild. She was best known for her work on Broadway and her film portrayals of mothers in a series of critically acclaimed films. An outspoken critic of the House Un-American Activities Committee, her name appeared in Red Channels: The Report on Communist Influence in Radio and Television in 1950 and she was subsequently blacklisted.


Category: Anne Revere

In her only movie, Mary Morris (left) gives Evelyn Venable fake pearls in the suspense thriller “Double Door.”

“The play that made Broadway Gasp” is how Paramount explained Double Door in the opening title of its new film of 1934. The screen version of the popular stage melodrama premiered on May 4 – less than two months before the enforcement of the Motion Picture Production Code cracked down on censorship and took the edge off mainstream Hollywood product.

But this Old Dark House thriller was no reveler in modernistic sex and violence – it enticed with a ruthlessly old-fashioned quality that made us shudder. And many folks who watched Double Door on screen in 1934, or had viewed it live, knew of its odd back story – one said to be inspired by members of a lost-in-the-past New York City landlord clan known as “The Wild Wendels.” Their distaste for the attention of publicity and the accoutrements of affluence would have made them the anti-Trumps of today.

A must-watch for fans of Golden Age horror (or, in this case, semi-horror), Double Door was foremost a triumph for its star, Mary Morris, a longtime Broadway actress whose only movie this was. Too bad, but Morris packs a lot of punch into her 75-minute screen career in the role she originated on Broadway in the fall of 1933.

Morris plays a cold-blooded spinster named Victoria Van Brett, who in 1910 has holed up in her decaying Fifth Avenue brownstone with her meek, pliable sister, Caroline (Anne Revere), as Manhattan, and the rest of the world, changes around them. “I’d live in a tomb if I had all the millions they have!” comments one of their lower-class neighbors, who envy and pity the sisters in their “old museum” of a home, where the urns containing the ashes of their long-dead parents are displayed in plain sight.

The imperious Victoria has no plans to alter this arrangement, even with the marriage of her lively, much-younger half-brother, Rip (Kent Taylor). Victoria orders her attorney (Sir Guy Standing) to cut Rip out of her will upon his union with Anne (Evelyn Venable), a kindly nurse. Reminded that Anne is to inherit the valuable family pearls, Vicki claims them for her own as the start of a crusade to ruin the life of her new sister-in-law, whom she derides as an “empty-headed upper servant.”

The title refers to the entrance to a mysterious “sleeping room” deep inside the mansion that is known only to Victoria, and you can be sure that it will fit into this piece of American Gothic at an appropriate time.

Morris (1895-1970) was only 38 when she played the film role for director Charles Vidor, yet she is entirely convincing as an oldster. Even a series of extreme closeups of Victoria’s baleful face in the opening fail to reveal her youth (and amount of makeup).

“Remember her name … you’ll never forget her face!” studio ads boasted to build the fear factor, and critics responded in kind: “Hers is a piercing, brilliant characterization – beautiful in its austere cruelty and fascinating in its complete domination over you,” said a scribe who had seen Morris on stage as well. On the West Coast, a Hollywood Reporter review praised Double Door as “superbly directed, stunningly photographed and more than competently acted.”

Revere, who, like Morris, was repeating her Broadway role (and whose first movie this was), is also highly effective as one of the two women dominated by this dominator. Revere (1903-1990) returned to pictures after a few years to build a career highlighted by a Best Supporting Actress Oscar for National Velvet (1944).

The source work was written by Elizabeth A. McFadden, a librarian from Cincinnati who had been writing plays in New York since the Armistice. She shared (although not so in degree) Victoria’s aversion to personal attention. In 1933, just as Double Door was premiering on Broadway, she left it to her producer to issue a statement in which she responded to the print rumors about the connection of the Wendel family to her work.

“Several of the papers have recently said that ‘it is reported that … Double Door is based on the story of the Wendell [sic] family. … I wish to deny categorically and as emphatically as possible that my play has the slightest resemblance to the history of the … family,” the statement read. “… Double Door is the story of two middle-aged rich women living on Fifth Avenue. There, any possible resemblance to the Wendells [sic] ceases.”

Rightly or wrongly, this was great publicity for Double Door, the rights for which were bought for a hefty $55,000 by Paramount even before 1933 was out. This was one of the biggest Broadway-to-Hollywood acquisitions for the 1933-34 season.

We can compare the play and movie with the real-life story of the Wendel family, which was the subject of a lengthy New York Times feature story in 2016. There were more than just two spinster sisters in the Wendel clan at the peak of its infamy there were six, plus a brother, who were all unmarried and living, sans electricity, in a four-story mansion at Fifth Avenue and 39th Street in Manhattan during the early years of the 20th century. Inside, the siblings dressed in long-out-of-date Victorian garb and bathed in zinc tubs. Outside, tour buses pulled up for views of “the House of Mystery.”

“It was very hard to do business with them,” Douglas Durst, a member of a still-powerful New York real estate family that did business with the Wendels, told the Times, “because they didn’t have a telephone.”

But the Wendels did have more than 150 properties in Manhattan, with many falling apart because of the family policy to not waste money on repairs, and to never sell willingly. “Once the Wendels got what they wanted, they never let go until death loosed their fingers,” the New York Daily News declared.

During its 100 years of miserliness, the litigious family was frequently in hot water with New York for its refusal to sell parcels of land deemed important to advance the growing metropolis, and the city often had to turn to resort to legal or legislative means to get its way.

The remaining Wendels began to die off, one of them, according to a contemporary newspaper account, having “spent her last days alone, talking to herself and ‘playing house’ with imaginary companions.” The last of the siblings perished in 1931, prompting a wild scramble for the family fortune.

Many supposed relatives came out of the woodwork, but most of the estate – estimated to be worth as much as $150 million in 1930s dollars — went to charity. This proved that strong-willed landlords could make news long before Donald Trump was a gleam in anyone’s eye.

McFadden died in 1961, having apparently not shed any further light on her inspiration for Double Door. Given all the litigiousness in the Wendel affair, it would not have been in her best interest to admit ties between fiction and fact.

The Double Door film – which was not a box office success, despite the good reviews — is difficult to see these days, although it has been shown in periodic repertory and convention screenings. Even with its outdated air, the play has been revived periodically, and an internet search reveals a staging as recently as 2011. And why not, for has avarice ever gone out of style?

“Who Will Get the Wendel Millions?” New York Daily News, August 7, 1932.

“Fame Raps at Cincinnatian’s Door,” Cincinnati Enquirer, October 8, 1933.

“Paramount Double Door Fantastic But Thrilling,” The Hollywood Reporter, April 18, 1934.

“The Screen: Double Door,” Brooklyn Daily Eagle, May 5, 1934.

“Pix Cautious on Legits,” Variety, October 30, 1934.

“Before the Trumps, There Were the Wendels,” The New York Times, April 8, 2016.

Mary Morris looked older than age 38 in advertisements for “Double Door,” and she successfully played old in the movie.


The Dark & Secret History of Making The Wizard of Oz

The Wizard of Oz may be almost 80 years old, but many of us know it to be one of the key films we watched growing up. The music is iconic, the Technicolor world of Oz was enchanting to behold and, of course, it was incredibly quotable. I mean, how many times have you told someone some form of, “Toto, I have a feeling we’re not in Kansas anymore”?

Whether it was singing “Somewhere Over the Rainbow” or following our own Yellow Brick Road, the movie is still referenced with great affection to this day. It’s hard to imagine that filming this seminal film was anything but happy and magical, and yet, sadly, it seems there was more than one dark moment during this film’s production back in the late 1930s.

Ever since it premiered back in 1939, rumors have circulated about the making of the film. We’ve looked into the juiciest tidbits &mdash including the fate of the first Tin Man and a possible suicide &mdash to tell you what really went down on the set of The Wizard of Oz.

1. Tin Man in an iron lung

It was the actor Buddy Ebsen (The Beverly Hillbillies) who started off as The Wizard of Oz producers’ choice to play the slightly melancholy Tin Man. The silver makeup used to make his character appear metallic was made out of aluminum powder. After 10 days of shooting and breathing the aluminum into his lungs, Ebsen became horribly ill. He was rushed to the hospital where he had to recover in an iron lung that helped him breathe. Jack Haley replaced Ebsen, but the filmmakers wised up and ditched the powder for an aluminum paste that was applied over greasepaint.

2. Victor Fleming accused of being pro-Nazi

Oz‘s director Victor Fleming, also known for directing Gone With the Wind, was rumored to be a Nazi sympathizer. Actor Anne Revere, who worked with Fleming in The Yearling, was quoted as saying Fleming was “violently pro-Nazi” and that he also loathed the British.

3. Wicked Witch was burned, for real

From the giant mole on her chin to her creepy green skin, Margaret Hamilton made a frightening Wicked Witch of the West. While shooting a scene where the Witch disappeared in a puff of smoke, the special effects went haywire, and the oil-based green makeup caught fire, burning her hands and arms. She recuperated but refused to work with fire again.

4. Toto’s broken paw

Turns out, it wasn’t only humans getting injured. Toto, the cairn terrier, Dorothy’s basket-size dog, suffered a broken paw when one of the witch’s guards accidentally stepped on its foot. The dog, a female named Terry in real life, went on to make a total of 15 films.

5. L. Frank Baum’s coat

In what could be an amazing coincidence or wild stroke of luck, the jacket purchased for Professor Marvel (Frank Morgan), was acquired at a secondhand store. The story goes that while Morgan was wearing the jacket on set, he noticed an inscription on the pocket. It read, “L. Frank Baum,” who was the author of the Oz books. It may sound fantastical, and it could be &mdash the only record of the incident is from a studio publicist years later. The jacket was given to Baum’s widow, Maud Gage, after the movie was completed.

Next: Auntie Em actor goes on her own “great adventure”


Anne Revere

Rođena u New Yorku, Revere je od rane mladosti bila glumica, pojavljujući se u školskim predstavama. Nakon što je diplomirala na koledžu Wellesley, pridružila se kazalištu mladih "American Laboratory Theatre". Brodvejski debi je imala 1931. godine, a ubrzo zatim, 1934. godine, snimila je i svoj prvi film, Dupla vrata (Double Door). Sljedeće se godine udala za pisca i redatelja Samuela Rosena. Ponovo se vratila kazalištu, gdje je nastupala do 1940. godine. Tada je snimila svoj drugi film, nakon šest godina pauze. Manja, ali zapažena uloga u tom filmu, Howardi iz Virginije (The Howards of Virginia), gdje je nastupila uz Caryja Granta, omogućila joj je daljnje angažmane.

U naredne četiri godine snimila je čak 20 filmova, od kojih je jedan bio i National Velvet. U njemu je glumila majku lika Elizabeth Taylor, velike dječje zvijezde, koja se natječe kao džokej. Film, koji je bio veliki hit, a i danas je često na TV programu, donio je Anne Revere Oscara za najbolju sporednu glumicu, koji joj je izmakao prethodne godine za ulogu u filmu Bernadettina pjesma (The Song of Bernadette). Treću je nominaciju zaradila za ulogu u filmu Džentlmenski sporazum (1947.)

Uspješna karijera Anne Revere je naprasno prekinuta 1951. godine, kada se našla na "hollywoodskoj crnoj listi" nepodobnih. Optužena je da je član Komunističke partije i gotovo otjerana iz Hollywooda, premda je tvrdila da su dokumenti korišteni u procesu protiv nje bili krivotvoreni. Vrativši se u New York, ponovo je počela nastupati u kazalištu, s velikim uspjehom. Tek dvadeset godina nakon izgona iz Hollywooda, dobila je filmsku ulogu. Pojavila se i u nekoliko TV uloga, ali se nije uspjela približiti nekadašnjem uspjehu.


9 cemeteries that are perfect for a quiet walk this spring

Looking for somewhere to take a contemplative walk and a break from today&rsquos uncertain times? By design, many cemeteries &ndash particularly the rural or garden variety which gradually replaced churchyard burying grounds over the course of the 19th century &ndash afford peace and quiet, and the opportunity for reflection.

Today, with their paved roads and walkways, cemeteries &ndash some flat and others with hills &ndash are ideal for walking.

And while they offer solitude, even on the quietest of days you&rsquoll rarely be entirely alone. Cemeteries are home to birds and other animals &ndash squirrels and rabbits, the occasional deer or turkey, or, if there is a nearby pond or stream, perhaps geese, turtles, even a swan or two.

As you stroll, you will inevitably wonder about the lives of the people whose names are carved on the gravestones and monuments you pass along the way. If you&rsquore in or near your hometown, some of the names will undoubtedly be familiar and conjure up memories of people you&rsquove known.

All the while, you can take in the landscape architecture that provides the setting for the often intricately designed granite, greenstone, limestone, slate and marble tombstones and family mausoleums that surround you.

For history buffs, avid readers, followers of politics, and fans of the arts, cemeteries throughout Massachusetts offer the opportunity to visit the final resting places of some of America&rsquos best-known figures.

There are beautiful and historic cemeteries throughout the Commonwealth. In and around Boston, here are some to consider:

King's Chapel Burying Ground, 58 Tremont St., Boston

John Winthrop, Massachusetts&rsquo first governor, and Mary Chilton, the first woman to step off the Mayflower, are among those buried in King&rsquos Chapel Burying Ground in downtown Boston. Established in 1630, this is one of the three oldest cemeteries in Boston, along with Phipps Street Burying Ground in Charlestown and Roxbury&rsquos Eliot Burying Ground.

Granary Burying Ground, Tremont Street between Park and School streets, Boston

Adjacent to Park Street Church and just steps from Boston Common, the Granary is home to the remains of thousands of Boston citizens, including Massachusetts governors, mayors, clergymen, three signers of the Declaration of Independence &ndash Samuel Adams, John Hancock, and Robert Treat Paine &ndash and patriot, craftsman, and famed midnight rider Paul Revere. Near the center of the burying ground, a 25-foot-tall obelisk sits atop the tomb of Benjamin Franklin's parents.

Mount Auburn Cemetery, 580 Mount Auburn St., Cambridge

Mount Auburn is the first rural, or garden, cemetery in the United States. Dedicated in 1831, Mount Auburn&rsquos rolling hills, landscaped grounds, and classical monuments, combined with its use of the term &ldquocemetery&rdquo &ndash from the Greek for sleeping place &ndash marked the shift away from the Colonial-era tradition of church-affiliated burying grounds.

Among those buried here are actor Edwin Booth, cookbook author Fannie Farmer, Church of Christ, Scientist founder Mary Baker Eddy, artist Winslow Homer, poet Henry Wadsworth Longfellow, politicians Henry Cabot Lodge and Henry Cabot Lodge, Jr., philosopher John Rawls, actress Anne Revere, historian and presidential speechwriter Arthur M. Schlesinger, Jr., psychologist Abraham Maslow, and sculptor Anne Whitney, buried alongside her companion Abby Adeline Manning.

Forest Hills Cemetery, 99 Forest Hills Ave., Boston

Forest Hills is a rural garden cemetery, sculpture garden, and public park with horticultural features designed by its founder A.S. Dearborn in the mid-1800s. Notables buried here include playwright and Nobel Laureate Eugene O'Neill (&ldquoLong Day&rsquos Journey into Night&rdquo) poets e.e. cummings and Anne Sexton, National Center for Afro-American Arts founder Elma Lewis, Boston Celtics player Reggie Lewis, suffragist and abolitionist Lucy Stone, philanthropist and co-founder of Boston&rsquos North Bennet Street School Pauline Agassiz Shaw, and abolitionist William Lloyd Garrison.

St. Joseph&rsquos Cemetery, 990 Lagrange St., West Roxbury

A veritable history of 20th-century Boston politics rests here as former Boston mayors John "Honey Fitz" Fitzgerald, John B. Hynes, John F. Collins, and Kevin H. White are all buried at St. Joseph&rsquos, along with legendary Boston Pops conductor Arthur Fiedler and notorious crime figure James &ldquoWhitey&rdquo Bulger.

Holyhood Cemetery, 584 Heath St., Brookline

Among those buried at Holyhood are professional baseball player George Wright, Irish poet and journalist John Boyle O&rsquoReilly, and Ambassador and Mrs. Joseph P. Kennedy along with other members of their family, including their daughter Rosemary Kennedy and their grandchildren David and Michael, sons of Robert and Ethel Kennedy, and Kara, daughter of Edward and Joan Kennedy.

Sleepy Hollow Cemetery, Bedford St., Concord

A rural cemetery, Sleepy Hollow &ndash with its famed Author&rsquos Ridge &ndash is the burial site of some of America&rsquos best-known writers and thinkers including Louisa May Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau, and more. Also buried at Sleepy Hollow are Lincoln Memorial sculptor Daniel Chester French, and television director Marc Daniels, who directed the first 38 episodes of &ldquoI Love Lucy,&rdquo 15 episodes of &ldquoStar Trek&rdquo and many other shows.

Sharon Memorial Park, 120 Canton St., Sharon

Serving the Jewish community and established in 1948, the same year as the formation of Israel, Sharon Memorial Park is the final resting place of billionaire media mogul Sumner Redstone, who passed away Aug. 11 at age 97. Also interred here are Dr. Melvin Glimcher, a leader in the development of artificial limbs and grandfather of current 4th District Congressional candidate Jake Auchincloss, and AIDS activist Elizabeth Glaser, co-founder of the Elizabeth Glaser Pediatric AIDS Foundation.

Milton Cemetery, 211 Centre St., Milton

Established in 1672 as a burying ground, Milton Cemetery added a &ldquonew&rdquo section, in the rural cemetery style, in 1854, and expanded further with a &ldquomodern section&rdquo in 1945. Among those interred here are Howard Johnson&rsquos restaurant and hotel chain founder Howard Deering Johnson, abolitionist Wendell Phillips, American Impressionist painter Dennis Miller Bunker, and actor and vaudevillian Nathaniel &ldquoNat&rdquo Goodwin.

Two topiary elephants gently grace the grounds of Milton Cemetery, in the shade of mature trees. Elephants are known to have long memories. They also often linger with their dead, standing by the body of a deceased elephant for hours and even later returning to the site.


Anne Revere

Anne Revere (25 de xunu de 1903, Nueva York - 18 d'avientu de 1990, Locust Valley (es) ) foi una actriz estauxunidense de teatru, cine y televisión. Debuta en Broadway en 1931 pero namái rueda una película hasta 1940. Nos años 1950, foi una de les víctimes del macarthismo ya inscrita na llista negra del cine.

Revere yera descendiente direuta del héroe de la Revolución Americana Paul Revere. [6] El so padre yera corredor de bolsa, y ella se crio nel Upper West Sidey en Westfield (Nueva Jersey). En 1926, graduóse en Wellesley College, y depués matriculóse na American Laboratory School pa estudiar actuación con Maria Ouspenskaya y Richard Boleslavsky. [7]

Revere fixo'l so debú en Broadway en 1931 en The Great Barrington. Tres años dempués foi a Hollywood a repitir el so papel teatral na adautación al cine de Double Door.

Volvió a Broadway pa interpretar el papel de Martha Dobie na producción orixinal de 1934 de The Children's Hour, y nos siguientes años apaeció na escena de Nueva York en As You Like It, The Three Sisters, y Toys in the Attic, pol que ganó'l Premiu Tony pola meyor interpretación d'actriz destacada nuna obra de teatru en 1960.

Trabayó duramente como una actriz de calter nel cine, apaeciendo en cerca de tres docenes de películes ente 1934 y 1951. [7] Frecuentemente foi escoyida pal papel de matriarca ya interpretó el papel de madre d'Elizabeth Taylor, Jennifer Jones, Gregory Peck, John Garfield, y Montgomery Clift, ente otros. Foi nomada pal Óscar a la meyor actriz de repartu tres veces y ganar pola so interpretación en National Velvet.

En 1951, Revere dimitió de la direición del Sindicatu d'Actores (Screen Actors Guild) en acoyéndose a la Quinta Enmienda pa refugar a testificar ante'l Comité d'Actividaes Antiestauxunidenses. Nun apaecería en nenguna película mientres venti años, [7] hasta'l so regresu a la pantalla en Tell Me That You Love Me, Junie Moon. Empezó a apaecer en televisión en 1960, especialmente en telenoveles como The Edge of Night, Search for Tomorrow, y Ryan's Hope.

Revere y el so home, el direutor de teatro Samuel Rosen, treslladar a Nueva York y abrieron una escuela d'interpretación, y ella siguió trabayando en producciones del summer stock theatre y del rexonal theater y na televisión.


Watch the video: ANNE REVERE TRIBUTE (May 2022).