TWILIGHT ZONE - Card #219 - LAST NIGHT OF A JOCKEY - MICKEY ROONEY

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Mickey Rooney (born Ninnian Joseph Yule Jr. ; September 23, 1920 – April 6, 2014) was an American actor, vaudevillian, comedian, producer, and radio personality. In a career spanning nine decades and continuing until shortly before his death, he appeared in more than 300 films and was among the last surviving stars of the silent film era.

At the height of a career that was marked by declines and comebacks, Rooney performed the role of Andy Hardy in a series of 16 films in the 1930's and 1940's that epitomized American family values. A versatile performer, he became a celebrated character actor later in his career. Laurence Olivier once said he considered Rooney "the best there has ever been". Clarence Brown, who directed him in two of his earliest dramatic roles, National Velvet and The Human Comedy , said he was "the closest thing to a genius I ever worked with".

Rooney first performed in vaudeville as a child and made his film debut at the age of six. At 14, he played Puck in the play and later the 1935 film adaptation of A Midsummer Night's Dream . Critic David Thomson hailed his performance as "one of the cinema's most arresting pieces of magic". In 1938, he co-starred in Boys Town . At 19, he was the first teenager to be nominated for an Oscar for his leading role in Babes in Arms , and he was awarded a special Academy Juvenile Award in 1939. At the peak of his career between the ages of 15 and 25, he made 43 films, which made him one of Metro-Goldwyn-Mayer's most consistently successful actors and a favorite of MGM studio head Louis B. Mayer.

Rooney was the top box-office attraction from 1939 to 1941 and one of the best-paid actors of that era, but his career would never again rise to such heights. Drafted into the Army during World War II, he served nearly two years entertaining over two million troops on stage and radio and was awarded a Bronze Star for performing in combat zones. Returning from the war in 1945, he was too old for juvenile roles but too short to be an adult movie star, and was unable to get as many starring roles. Nevertheless, Rooney's popularity was renewed with well-received supporting roles in films such as Breakfast at Tiffany's (1961), Requiem for a Heavyweight (1962), It's a Mad, Mad, Mad, Mad World (1963), and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies and again became a celebrated star. Rooney made hundreds of appearances on TV, including dramas, variety programs, and talk shows, and won an Emmy in 1982 plus a Golden Globe for his role in Bill (1981).

Early life

Rooney was born Ninnian Joseph Yule Jr. on September 23, 1920 in Brooklyn, New York, the only child of vaudevillians Nellie W. Carter, from Kansas City, Missouri and Joe Yule, a native of Glasgow, Scotland. His mother was a former chorus girl and a burlesque performer. When Rooney was born, his parents were appearing in a Brooklyn production of A Gaiety Girl . Rooney later recounted in his memoirs that he began performing at the age of 17 months as part of his parents' routine, wearing a specially tailored tuxedo.

Career

Child actor

Rooney's parents separated when he was four years old in 1924, and he and his mother moved to Hollywood the following year from Greenpoint, Brooklyn. He made his first film appearance at age six in 1926, in the short Not to be Trusted . Rooney got bit parts in films such as The Beast of the City (1932) and The Life of Jimmy Dolan (1933), which allowed him to work alongside stars such as Joel McCrea, Colleen Moore, Clark Gable, Douglas Fairbanks Jr., John Wayne and Jean Harlow. He enrolled in the Hollywood Professional School and later attended Hollywood High School, graduating in 1938.

Mickey McGuire

His mother saw an advertisement for a child to play the role of "Mickey McGuire" in a series of short films. Rooney got the role and became "Mickey" for 78 of the films, running from 1927 to 1936, starting with Mickey's Circus (1927), his first starring role.[a][b] During this period, he also briefly voiced Oswald the Lucky Rabbit. He made other films in his adolescence, including several more of the McGuire films. At age 15, he played the role of Puck in the Warner Brothers all-star adaptation of A Midsummer Night's Dream in 1935. Rooney then moved to MGM, where he befriended Judy Garland, with whom he began making a series of musicals that propelled both of them to stardom.

Andy Hardy, Boys Town and Hollywood stardom

In 1937, Rooney was selected to portray Andy Hardy in A Family Affair , which MGM had planned as a B-movie. Rooney provided comic relief as the son of Judge James K. Hardy, portrayed by Lionel Barrymore (although Lewis Stone would play the role of Judge Hardy in subsequent films). The film was an unexpected success, and led to 13 more Andy Hardy films between 1937 and 1946, and a final film in 1958.

According to author Barry Monush, MGM wanted the Andy Hardy films to appeal to all family members. Rooney's character would portray a typical "anxious, hyperactive, girl-crazy teenager", and he soon became the unintended main star of the films. Although some critics describe the series of films as "sweet, overly idealized, and pretty much interchangeable," their ultimate success was because they gave viewers a "comforting portrait of small-town America that seemed suited for the times", with Rooney instilling "a lasting image of what every parent wished their teen could be like".

Behind the scenes, however, Rooney was like the "hyperactive girl-crazy teenager" he portrayed on the screen. Wallace Beery, his co-star in Stablemates , described him as a "brat", but a "fine actor". MGM head Louis B. Mayer found it necessary to manage Rooney's public image, explains historian Jane Ellen Wayne:

Mayer naturally tried to keep all his child actors in line, like any father figure. After one such episode, Mickey Rooney replied, "I won't do it. You're asking the impossible." Mayer then grabbed young Rooney by his lapels and said, "Listen to me! I don't care what you do in private. Just don't do it in public. In public, behave. Your fans expect it. You're Andy Hardy! You're the United States! You're the Stars and Stripes. Behave yourself! You're a symbol!" Mickey nodded. "I'll be good, Mr. Mayer. I promise you that." Mayer let go of his lapels, "All right," he said.

Fifty years later, Rooney realized in hindsight that these early confrontations with Mayer were necessary for him to develop into a leading film star: "Everybody butted heads with him, but he listened and you listened. And then you'd come to an agreement you could both live with. ... He visited the sets, he gave people talks ... What he wanted was something that was American , presented in a cosmopolitan manner."

In 1937, Rooney made his first film alongside Judy Garland with Thoroughbreds Don't Cry . Garland and Rooney became close friends as they co-starred in future films and became a successful song-and-dance team. Audiences delighted in seeing the "playful interactions between the two stars showcase a wonderful chemistry". Along with three of the Andy Hardy films, where she portrayed a girl attracted to Andy, they appeared together in a string of successful musicals, including Babes in Arms (1939). During an interview in the 1992 documentary film MGM: When the Lion Roars , Rooney describes their friendship:

Judy and I were so close we could've come from the same womb. We weren't like brothers or sisters but there was no love affair there; there was more than a love affair. It's very, very difficult to explain the depths of our love for each other. It was so special. It was a forever love. Judy, as we speak, has not passed away. She's always with me in every heartbeat of my body.

In 1937, Rooney received top billing as Shockey Carter in Hoosier Schoolboy but his breakthrough-role as a dramatic actor came in 1938's Boys Town opposite Spencer Tracy as Father Flanagan, who runs a home for wayward and homeless boys. Rooney was awarded a special Juvenile Academy Award in 1939, for "significant contribution in bringing to the screen the spirit and personification of youth". Wayne describes one of the "most famous scenes" in the film, where tough young Rooney is playing poker with a cigarette in his mouth, his hat is cocked and his feet are up on the table. "Tracy grabs him by the lapels, throws the cigarette away and pushes him into a chair. 'That's better,' he tells Mickey." Louis B. Mayer said Boys Town was his favorite film during his years at MGM.

The popularity of his films made Rooney the biggest box-office draw in 1939, 1940 and 1941. For their roles in Boys Town , Rooney and Tracy won first and second place in the Motion Picture Herald 1940 National Poll of Exhibitors, based on the box office appeal of 200 players. Boys' Life magazine wrote, "Congratulations to Messrs. Rooney and Tracy! Also to Metro-Goldwyn-Mayer we extend a hearty thanks for their very considerable part in this outstanding achievement." Actor Laurence Olivier once called Rooney "the greatest actor of them all".

A major star in the early 1940s, he appeared on the cover of Time magazine in 1940, timed to coincide with the release of Young Tom Edison ; the cover story began:

Hollywood's No. 1 box office bait in 1939 was not Clark Gable, Errol Flynn or Tyrone Power, but a rope-haired, kazoo-voiced kid with a comic-strip face, who until this week had never appeared in a picture without mugging or overacting it. His name (assumed) was Mickey Rooney, and to a large part of the more articulate U.S. cinema audience, his name was becoming a frequently used synonym for brat.

During his long and illustrious career, Rooney also worked with many of the screen's female stars, including Elizabeth Taylor in National Velvet (1944) and Audrey Hepburn in Breakfast at Tiffany's (1961)." Rooney's "bumptiousness and boyish charm" as an actor would develop more "smoothness and polish" over the years, writes biographer Scott Eyman. The fact that Rooney fully enjoyed his life as an actor played a large role in those changes:

You weren't going to work, you were going to have fun. It was home, everybody was cohesive; it was family. One year I made nine pictures; I had to go from one set to another. It was like I was on a conveyor belt. You did not read a script and say, "I guess I'll do it." You did it. They had people that knew the kind of stories that were suited to you. It was a conveyor belt that made motion pictures.

Clarence Brown, who directed Rooney in his Oscar-nominated performance in The Human Comedy (1943) and again in National Velvet (1944), enjoyed working with Rooney in films:

Mickey Rooney is the closest thing to a genius that I ever worked with. There was Chaplin, then there was Rooney. The little bastard could do no wrong in my book ... All you had to do with him was rehearse it once.

World War II and later career

In June 1944, Rooney was inducted into the United States Army, where he served more than 21 months (until shortly after the end of World War II) entertaining the troops in America and Europe in Special Services. He spent part of the time as a radio personality on the American Forces Network and was awarded the Bronze Star Medal for entertaining troops in combat zones. In addition to the Bronze Star Medal, Rooney also received the Army Good Conduct Medal, American Campaign Medal, European-African-Middle Eastern Campaign Medal, and World War II Victory Medal, for his military service.[self-published source ]

Rooney's career slumped after his return to civilian life. He was now an adult with a height of only 5 feet 2 inches (1.57 m) and he could no longer play the role of a teenager, but he also lacked the stature of most leading men. He appeared in a number of films, including Words and Music in 1948, which paired him for the last time with Garland on film (he appeared with her on one episode as a guest on The Judy Garland Show ). He briefly starred in a CBS radio series, Shorty Bell , in the summer of 1948, and reprised his role as "Andy Hardy", with most of the original cast, in a syndicated radio version of The Hardy Family in 1949 and 1950 (repeated on Mutual during 1952).

In 1949 Variety reported that Rooney had renegotiated his deal with MGM. He agreed to make one film a year for them for five years at $25,000 a movie (his fee until then had been $100,000 but Rooney wanted to enter independent production.) Rooney claimed he was unhappy with the billing MGM gave him for Words and Music .

His first television series, The Mickey Rooney Show , also known as Hey, Mulligan , was created by Blake Edwards with Rooney as his own producer, and appeared on NBC television for 32 episodes between August 28, 1954 and June 4, 1955. In 1951, he made his directorial debut with My True Story, starring Helen Walker. Rooney also starred as a ragingly egomaniacal television comedian, loosely based on Red Buttons, in the live 90-minute television drama The Comedian , in the Playhouse 90 series on the evening of Valentine's Day in 1957, and as himself in a revue called The Musical Revue of 1959 based on the 1929 film The Hollywood Revue of 1929 , which was edited into a film in 1960.

In 1958, Rooney joined Dean Martin and Frank Sinatra in hosting an episode of NBC's short-lived Club Oasis comedy and variety show. In 1960, Rooney directed and starred in The Private Lives of Adam and Eve , an ambitious comedy known for its multiple flashbacks and many cameos. In the 1960s, Rooney returned to theatrical entertainment. He still accepted film roles in undistinguished films but occasionally would appear in better works, such as Requiem for a Heavyweight (1962) and It's a Mad, Mad, Mad, Mad World (1963).

He portrayed a Japanese character, Mr. Yunioshi, in the 1961 film version of Truman Capote's novella Breakfast at Tiffany's . His performance was criticized by some in subsequent years as a racist stereotype. Rooney later said that he would not have taken the role if he had known it would offend people.

On December 31, 1961, Rooney appeared on television's What's My Line and mentioned that he had already started enrolling students in the MRSE (Mickey Rooney School of Entertainment). His school venture never came to fruition. This was a period of professional distress for Rooney; as a childhood friend, director Richard Quine put it: "Let's face it. It wasn't all that easy to find roles for a 5-foot-3 man who'd passed the age of Andy Hardy." In 1962, his debts had forced him into filing for bankruptcy.

In 1966, Rooney was working on the film Ambush Bay in the Philippines when his wife Barbara Ann Thomason— a former model and aspiring actress who had won 17 straight beauty contests in Southern California—was found dead in her bed. Her lover, Milos Milos—who was one of Rooney's actor-friends—was found dead beside her. Detectives ruled it a murder-suicide, which was committed with Rooney's own gun.

Francis Ford Coppola had bought the rights to make The Black Stallion (1979), and when casting it, he called Rooney and asked him if he thought he could play a jockey. Rooney replied saying, "Gee, I don't know. I never played a jockey before." He was kidding, he said, since he had played a jockey in at least three past films, including Down the Stretch , Thoroughbreds Don't Cry , and National Velvet . The film garnered excellent reviews and earned $40 million in its first run, which gave Coppola's struggling studio, American Zoetrope, a major boost. It also gave Rooney newfound recognition, along with a nomination for Best Supporting Actor.

In 1983, the Academy of Motion Picture Arts and Sciences gave Rooney their Academy Honorary Award for his lifetime of achievement.

Character roles and Broadway comeback

Television roles

In addition to his movie roles, Rooney made numerous guest-starring roles as a television character actor for nearly six decades, beginning with an episode of Celanese Theatre . The part led to other roles on such television series as Schlitz Playhouse , Playhouse 90 , Producers' Showcase , Alcoa Theatre , The Soldiers , Wagon Train , General Electric Theater , Hennesey , The Dick Powell Theatre , Arrest and Trial (1964), Burke's Law (1963), Combat! (1964), The Fugitive , Bob Hope Presents the Chrysler Theatre , The Jean Arthur Show (1966), The Name of the Game (1970), Dan August (1970), Night Gallery (1970), The Love Boat , Kung Fu: The Legend Continues (1995), Murder, She Wrote (1992), The Golden Girls (1988) among many others.

In 1961, he guest-starred in the 13-week James Franciscus adventure–drama CBS television series The Investigators . In 1962, he was cast as himself in the episode "The Top Banana" of the CBS sitcom, Pete and Gladys , starring Harry Morgan and Cara Williams.

In 1963, he entered CBS's The Twilight Zone , giving a one-man performance in the episode "The Last Night of a Jockey" (1963). Also in 1963, in 'The Hunt' for Suspense Theater , he played the sadistic sheriff hunting the young surfer played by James Caan. In 1964, he launched another half-hour sitcom, Mickey . The story line had "Mickey" operating a resort hotel in southern California. His own son Tim Rooney appeared as his character's teenage son on this program, and Emmaline Henry starred as Rooney's wife. The program lasted for 17 episodes.

When Norman Lear was developing All in the Family in 1970, he wanted Rooney for the lead role of Archie Bunker. Rooney turned Lear down; and the role eventually went to Carroll O'Connor.

Rooney garnered a Golden Globe and an Emmy Award for Outstanding Lead Actor in a Limited Series or a Special for his role in 1981's Bill . Playing opposite Dennis Quaid, Rooney's character was a mentally handicapped man attempting to live on his own after leaving an institution. His acting quality in the film has been favorably compared to other actors who took on similar roles, including Sean Penn, Dustin Hoffman and Tom Hanks. He reprised his role in 1983's Bill: On His Own , earning an Emmy nomination for the turn.

Rooney did voice acting from time to time. He provided the voice of Santa Claus in four stop-motion animated Christmas TV specials: Santa Claus Is Comin' to Town (1970), The Year Without a Santa Claus (1974), Rudolph and Frosty's Christmas in July (1979) and A Miser Brothers' Christmas (2008). In 1995, he appeared as himself on The Simpsons episode "Radioactive Man".

After starring in one unsuccessful TV series and turning down an offer for a huge TV series, Rooney, now 70, starred in the Family Channel's The Adventures of the Black Stallion , where he reprised his role as Henry Dailey in the film of the same name, eleven years earlier. The series ran for three years and was an international hit.

Rooney appeared in television commercials for Garden State Life Insurance Company in 2002.

Broadway shows

A major turning point came in 1979, when Rooney made his Broadway debut in the acclaimed stage play Sugar Babies , a musical revue tribute to the burlesque era costarring former MGM dancing star Ann Miller. Aljean Harmetz noted that "Mr. Rooney fought over every skit and argued over every song and almost always got things done his way. The show opened on Broadway on October 8, 1979, to rave reviews, and this time he did not throw success away. Rooney and Miller performed the show 1,208 times in New York and then toured with it for five years, including eight months in London. Co-star Miller recalls that Rooney "never missed a performance or a chance to ad-lib or read the lines the same way twice, if he even stuck to the script". Biographer Alvin Marill states that "at 59, Mickey Rooney was reincarnated as a baggy-pants comedian—back as a top banana in show biz in his belated Broadway debut."

Following this, he toured as Pseudelous in Stephen Sondheim's A Funny Thing Happened on the Way to the Forum . In the 1990s, he returned to Broadway for the final months of Will Rogers Follies , playing the ghost of Will's father. On television, he starred in the short-lived sitcom, One of the Boys , along with two unfamiliar young stars, Dana Carvey and Nathan Lane, in 1982.

He toured Canada in a dinner theatre production of The Mind with the Naughty Man in the mid-1990s. He played The Wizard in a stage production of The Wizard of Oz with Eartha Kitt at Madison Square Garden. Kitt was later replaced by Jo Anne Worley.

Final years

Rooney wrote a memoir titled Life is Too Short , published by Villard Books in 1991. A Library Journal review said that "From title to the last line, 'I'll have a short bier', Rooney's self-deprecating humor powers this book." He wrote a novel about a child star, published in 1994, The Search For Sunny Skies .

Despite the millions of dollars that he earned over the years, such as his $65,000 a week earnings from Sugar Babies , Rooney was plagued by financial problems late in life. His longtime gambling habit caused him to "gamble away his fortune again and again". He declared bankruptcy for the second time in 1996 and described himself as "broke" in 2005. He kept performing on stage and in the movies, but his personal property was valued at only $18,000 when he died in 2014.

Rooney and his wife Jan toured the country in 2005 through 2011 in a musical revue called Let's Put on a Show . Vanity Fair called it "a homespun affair full of dog-eared jokes" that featured Rooney singing George Gershwin songs.

In 2006, Rooney played Gus in Night at the Museum . He returned to play the role again in the sequel Night at the Museum: Battle of the Smithsonian in 2009, in a scene that was deleted from the final film.

On May 26, 2007, he was grand marshal at the Garden Grove Strawberry Festival. Rooney made his British pantomime debut, playing Baron Hardup in Cinderella, at the Sunderland Empire Theatre over the 2007 Christmas period, a role he reprised at Bristol Hippodrome in 2008 and at the Milton Keynes theatre in 2009.

In 2011, Rooney made a brief cameo appearance in The Muppets and in 2014, at age 93, he reprised his role as Gus in Night at the Museum: Secret of the Tomb , with the film being dedicated in the honor of Rooney and Robin Williams, who also died that year. Although confined to a wheelchair, he was described by director Shawn Levy as "energetic and so pleased to be there. He was just happy to be invited to the party."

An October 2015 article in The Hollywood Reporter maintained that Rooney was frequently abused and financially depleted by his closest relatives in the last years of his life. The article said that it was clear that "one of the biggest stars of all time, who remained aloft longer than anyone in Hollywood history, was in the end brought down by those closest to him. He died humiliated and betrayed, nearly broke and often broken." Rooney suffered from bipolar disorder and had attempted suicide two or three times over the years, with resulting hospitalizations reported as "nervous breakdowns".

Personal life

At the time of his death, he was married to Jan Chamberlin Rooney, although they had separated in June 2012. He had nine children and two stepchildren, as well as 19 grandchildren and several great-grandchildren. Rooney had been addicted to sleeping pills, and overcame the sleeping pill addiction in 2000 when he was in his late 70s.

In the late 1970s, Rooney became a born-again Christian and was a fan of Pat Robertson.

On February 16, 2011, Rooney was granted a temporary restraining order against stepson Christopher Aber and Aber's wife, Christina, and they were ordered to stay 100 yards from Rooney, his stepson Mark Rooney and his wife, Charlene Rooney. Rooney claimed that he was a victim of elder abuse.

On March 2, 2011, Rooney appeared before a special U.S. Senate committee that was considering legislation to curb elder abuse, testifying about the abuse he claimed to have suffered at the hands of family members. In 2011, all of Rooney's finances were permanently handed over to a conservator, who called Rooney "completely competent".

In April 2011, the temporary restraining order that Rooney was previously granted was replaced by a confidential settlement between Rooney and his stepson, Aber. Christopher Aber and Jan Rooney denied all the allegations.

In 1997, Rooney was arrested on suspicion of beating his wife, but charges were dropped due to lack of evidence.

In May 2013, Rooney sold his home of many years, reportedly for $1.3 million, and split the proceeds with his wife, Jan.

Marriages

Rooney was married eight times, with six of the marriages ending in divorce. In 1942, he married his first wife, actress Ava Gardner, who at that time was still an obscure teenage starlet. They divorced the following year, partly because he had apparently been unfaithful. While stationed in the military in Alabama in 1944, Rooney met and married Betty Jane Phillips, who later became a singer under the name B.J. Baker. They had two sons together. This marriage ended in divorce after he returned from Europe at the end of World War II. His marriage to actress Martha Vickers in 1949 produced one son but ended in divorce in 1951. He married actress Elaine Mahnken in 1952 and they divorced in 1958.

In 1958, Rooney married Barbara Ann Thomason, but she was murdered by her secret lover in 1966. He then married Barbara's best friend, Marge Lane. That marriage lasted 100 days. He was married to Carolyn Hockett from 1969 to 1975. In 1978, Rooney married his eighth and final wife, Jan Chamberlin. Their marriage lasted until his death, a total of 34 years (longer than his seven previous unions combined), although they separated in 2012.

Wife

Years

Children

Ava Gardner

1942–43

Betty Jane Rase (née Phillips)

1944–49

2, Mickey Rooney, Jr. and Tim Rooney

Martha Vickers

1949–51

1

Elaine Devry (a.k.a.: Elaine Davis)

1952–58

2, Jimmy and Jonelle

Barbara Ann Thomason (a.k.a.: Tara Thomas, Carolyn Mitchell)

1958–66

4, including Michael Joseph Rooney

Marge Lane

1966–67

Carolyn Hockett

1969–75

2

Jan Chamberlin

1978–2014 (separated, June 2012)

Death

Rooney died on April 6, 2014 of natural causes, including complications from diabetes, in Los Angeles at the age of 93. A group of family members and friends, including Mickey Rourke, held a memorial service on April 18. A private funeral, organized by another set of family members, was held at Hollywood Forever Cemetery, where he was interred, on April 19. His eight surviving children said in a statement that they were barred from seeing Rooney during his final years.

At his death, Vanity Fair called him "the original Hollywood train wreck". He struggled with alcohol and pill addiction. Ava Gardner was his first wife, and he would go on to marry an additional seven times. Despite earning millions during his career, he had to file for bankruptcy in 1962 due to mismanagement of his finances. Shortly before his death in 2014 at age 93, he accused some family members of mistreatment and testified before Congress about what he said was physical abuse and exploitation by family members. By the end of his life, his millions in earnings had dwindled to an estate that was valued at only $18,000. He died owing medical bills and back taxes, and contributions were solicited from the public.

Legacy

Rooney was one of the last surviving actors of the silent film era. His film career spanned 88 years, from 1926 to 2014, continuing until shortly before his death. During his peak years from the late 1930s to the early 1940s, Rooney was among the top box-office stars in the United States.

He made forty-three pictures between the age of 15 and 25. Among those, his role as Andy Hardy became one of "Hollywood's best-loved characters," with Marlon Brando calling him "the best actor in films".

"There was nothing he couldn't do", said actress Margaret O'Brien. MGM boss Louis B. Mayer treated him like a son and saw in Rooney "the embodiment of the amiable American boy who stands for family, humbug, and sentiment," writes critic and author, David Thomson.

By the time Rooney was 20, his consistent portrayals of characters with youth and energy suggested that his future success was unlimited. Thomson also explains that Rooney's characters were able to cover a wide range of emotional types, and gives three examples where "Rooney is not just an actor of genius, but an artist able to maintain a stylized commentary on the demon impulse of the small, belligerent man:"

Rooney's Puck in A Midsummer Night's Dream (1935) is truly inhuman, one of cinema's most arresting pieces of magic. ... His toughie in Boys Town (1938) struts and bullies like something out of a nightmare and then comes clean in a grotesque but utterly frank outburst of sentimentality in which he aspires to the boy community ... His role as Baby Face Nelson (1957), the manic, destructive response of the runt against a pig society.

By the end of the 1940s, Rooney's movie characters were no longer in demand and his career went downhill. "In 1938," he said, "I starred in eight pictures. In 1948 and 1949 together, I starred in only three." However, film historian Jeanine Basinger notes that although his career "reached the heights and plunged to the depths, Rooney kept on working and growing, the mark of a professional." Some of the films which reinvigorated his popularity, were Requiem for a Heavyweight (1962), It's a Mad, Mad, Mad, Mad World (1963) and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies , and "found himself once more back on top".

Basinger tries to encapsulate Rooney's career:

Rooney's abundant talent, like his film image, might seem like a metaphor for America: a seemingly endless supply of natural resources that could never dry up, but which, it turned out, could be ruined by excessive use and abuse, by arrogance or power, and which had to be carefully tended to be returned to full capacity. From child star to character actor, from movie shorts to television specials, and from films to Broadway, Rooney ultimately did prove he could do it all, do it well, and keep on doing it. His is a unique career, both for its versatility and its longevity.

Filmography

Main article: Mickey Rooney filmography

One of the most enduring performers in show business history, Rooney appeared in over 300 films in 88 years. He was one of the last surviving stars of the silent film era, having one of the longest careers in movie history.

Stage

1935: A Midsummer Night's Dream

1951: Sailor Beware

1963: The Tunnel of Love

1965: A Funny Thing Happened on the Way to the Forum

1967: The Odd Couple

1969–70: George M!

1971: Three Goats and a Blanket

1971: Hide and Seek

1971: W.C. (closed on the road)

1972–74: See How They Run

1973: A Midsummer Night's Dream

1975: Goodnight Ladies

1975: Sugar

1976: Alimony

1979–82, 1983–88: Sugar Babies

1983: Show Boat

1986: The Laugh's On Me

1987: A Funny Thing Happened on the Way to the Forum

1989: Two for the Show

1990: The Sunshine Boys

1991–93: The Will Rogers Follies

1993: Lend Me a Tenor

1994: The Mind with the Naughty Man

1995: Crazy for You

1997–99: The Wizard of Oz

2000: Hollywood Goes Classical

2003: Singular Sensations

2000–11: Let's Put On A Show

Awards and honors

Awards

Year

Association

Category

Nominated work / Honor

Result

1938

Academy Awards

Academy Juvenile Award

(with Deanna Durbin) "For their significant contribution in bringing to the screen the spirit and personification of youth, and as juvenile players setting a high standard of ability and achievement."

Honored

1939

Best Actor in a Leading Role

Babes in Arms

Nominated

1943

Best Actor in a Leading Role

The Human Comedy

Nominated

1956

Best Actor in a Supporting Role

The Bold and the Brave

Nominated

1979

Best Actor in a Supporting Role

The Black Stallion

Nominated

1957

Emmy Awards

Best Single Performance in a Leading or Supporting Role

"The Comedian", episode of Playhouse 90

Nominated

1958

Best Single Performance in a Leading or Supporting Role

Alcoa Theatre : "Eddie"

Nominated

1961

Best Single Performance in a Leading or Supporting Role

"Somebody's Waiting", episode of The Dick Powell Show

Nominated

1964

Golden Globe Awards

Best TV Star – Male

Mickey

Won

1980

Tony Awards

Best Performance by a Leading Actor in a Musical

Sugar Babies

Nominated

1980

Drama Desk Awards

Outstanding Actor in a Musical

Sugar Babies

Nominated

1981

Emmy Awards

Outstanding Lead Actor in a Limited Series or Special

Bill

Won

1981

Golden Globe Awards

Best Actor in a TV Mini-Series or Motion Picture

Bill

Won

1983

Academy Awards

Academy Honorary Award

"In recognition of his 50 years of versatility in a variety of memorable film performances."

Honored

1983

Emmy Awards

Outstanding Lead Actor in a Limited Series or a Special

Bill: On His Own

Nominated

1991

Gemini Awards

Best Performance by an Actor in a Continuing Leading Dramatic Role

The Adventures of the Black Stallion

Nominated

1991

Young Artist Awards

Former Child Star Award

For lifetime achievement as a child star (Subsequently renamed "The Mickey Rooney Award")

Honored

1996

Giffoni Film Festival

François Truffaut Award

Honored

Honors

In May 1956, Rooney received an honorary PhD in Fine Arts from both Fremont College and degree mill Sequoia University due to his work in the entertainment field.

On February 8, 1960, Rooney was initiated into the Hollywood Walk of Fame with a star heralding his work in motion pictures, located at 1718 Vine Street, one for his television career located at 6541 Hollywood Boulevard, and a third dedicated to his work in radio, located at 6372 Hollywood Boulevard. On March 29, 1984, he received a fourth star, this one for his live performances, located at 6211 Hollywood Boulevard.

In 1996, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to Rooney.

"The Last Night of a Jockey " is an episode of the American television anthology series The Twilight Zone . In this episode, a diminutive jockey's wish to be tall is granted. The only actor in this entire episode is Mickey Rooney. Rod Serling wrote this episode specifically for Rooney.

Opening narration

The name is Grady, five feet short in stockings and boots, a slightly distorted offshoot of a good breed of humans who race horses. He happens to be one of the rotten apples, bruised and yellowed by dealing in dirt, a short man with a short memory who's forgotten that he's worked for the sport of kings and helped turn it into a cesspool, used and misused by the two-legged animals who've hung around sporting events since the days of the Coliseum. So this is Grady, on his last night as a jockey. Behind him are Hialeah, Hollywood Park and Saratoga. Rounding the far turn and coming up fast on the rail—is the Twilight Zone.

Plot

A jockey named Grady is lying alone in his room after being banned from horse racing for life for fixing races by horse doping. He drinks in his depression, and rues his five-foot height, which horse riding had served to compensate for. He then hears a voice. The voice introduces himself as "the alter ego" and claims to live in Grady's head. He argues with the alter ego, trying to justify his life and his actions, even lying about his crimes, but the alter ego knows all about him. Grady is offered the chance to change his life with one wish. Grady says his greatest wish is to be big. After Grady wakes from a nap he finds his wish has been granted; he is now close to eight feet tall.

Ecstatic, Grady calls his ex-girlfriend over the phone, but she dismisses him. He boasts that he can find more girls who will appreciate him because of his newfound height. The alter ego remains unimpressed, feeling Grady hasn't made good on any of his promises. He derides his dumb and "cheap" wish, and says that Grady could've wished to win the Kentucky Derby fairly, or perform a heroic act.

A telephone call from the racing commission informs Grady that he has been reinstated and can jockey again. Grady joyfully thanks everyone who petitioned to give him a second chance, but the alter ego laughs at him. Grady realizes he has become even larger, about 10 feet tall — too tall to ride a horse, or properly fit in his own apartment. Devastated, the now-giant Grady wrecks his room and pleads with the alter ego to make him small again. The alter ego denies the request, and instead replies, "You are small, Mr. Grady. You see, every time you won an honest race, that's when you were a giant. But right now, they just don't come any smaller."

Closing narration

The name is Grady, ten feet tall, a slightly distorted offshoot of a good breed of humans who race horses. Unfortunately for Mr. Grady, he learned too late that you don't measure size with a ruler, you don't figure height with a yardstick, and you never judge a man by how tall he looks in a mirror. The giant is as he does. You can make a parimutuel bet on this, win, place, or show, in or out of the Twilight Zone.

Censorship

CBS's Program Practices department criticized this episode for use of the word "dwarf" in a negative context, suggesting that instead the terms "half-pint", "runt" or "shrimp" could be used.

The Twilight Zone is an American media franchise based on the anthology television series created by Rod Serling. The episodes are in various genres, including fantasy, science fiction, suspense, horror, and psychological thriller, often concluding with a macabre or unexpected twist, and usually with a moral. A popular and critical success, it introduced many Americans to common science fiction and fantasy tropes. The original series, shot entirely in black and white, ran on CBS for five seasons from 1959 to 1964.

The Twilight Zone followed in the tradition of earlier television shows such as Tales of Tomorrow (1951–53) and Science Fiction Theatre (1955–57); radio programs such as The Weird Circle (1943–45), Dimension X (1950–51) and X Minus One (1955–58); and the radio work of one of Serling's inspirations, Norman Corwin. The success of the series led to a feature film (1983), a TV film (1994), a radio series (2002–12), literature including a comic book, novels and a magazine and a theme park attraction and various other spin-offs that spanned five decades, including three revival television series. The first revival (1985–89) ran on CBS and in syndication in the 1980s, while the second revival ran on UPN (2002–2003). In December 2017, CBS All Access officially ordered the third Twilight Zone revival to series, helmed by Jordan Peele. The series premiered on April 1, 2019.

TV Guide ranked the original TV series #5 in their 2013 list of the 60 greatest shows of all time and #4 in their list of the 60 greatest dramas.

As a boy, Rod Serling was a fan of pulp fiction stories. As an adult, he sought topics with themes such as racism, government, war, society, and human nature in general. Serling decided to combine these two interests as a way to broach these subjects on television at a time when such issues were not commonly addressed.

Throughout the 1950s, Serling established himself as one of the most popular names in television. He was as famous for writing televised drama as he was for criticizing the medium's limitations. His most vocal complaints concerned censorship, which was frequently practiced by sponsors and networks. "I was not permitted to have my senators discuss any current or pressing problem," he said of his 1957 Studio One production "The Arena", intended to be an involving look into contemporary politics. "To talk of tariff was to align oneself with the Republicans; to talk of labor was to suggest control by the Democrats. To say a single thing germane to the current political scene was absolutely prohibited."

"The Time Element" (1958)

CBS purchased a teleplay in 1958 that writer Rod Serling hoped to produce as the pilot of a weekly anthology series. "The Time Element" marked Serling's first entry in the field of science fiction.

Plot

Several years after the end of World War II, a man named Peter Jenson (William Bendix) visits a psychoanalyst, Dr. Gillespie (Martin Balsam). Jenson tells him about a recurring dream in which he tries to warn people about the "sneak attack" on Pearl Harbor before it happens, but the warnings are disregarded. Jenson believes the events of the dream are real, and each night he travels back to 1941. Dr. Gillespie insists that time travel is impossible given the nature of temporal paradoxes. While on the couch, Jenson falls asleep once again but this time dreams that the Japanese planes shoot and kill him. In Dr. Gillespie's office, the couch Jenson was lying on is now empty. Dr. Gillespie goes to a bar where he finds Jenson's picture on the wall. The bartender tells him that Jenson had tended bar there, but he was killed during the Pearl Harbor attack.

Production

With the "Time Element" script, Serling drafted the fundamental elements that defined the subsequent series: a science-fiction/fantasy theme, opening and closing narration, and an ending with a twist. "The Time Element" was purchased immediately, but shelved indefinitely.

This is where things stood when Bert Granet, the new producer for Westinghouse Desilu Playhouse , discovered "The Time Element" in CBS' vaults while searching for an original Serling script to add prestige to his show. "The Time Element" (introduced by Desi Arnaz) debuted on November 24, 1958, to an overwhelmingly delighted audience of television viewers and critics alike. "The humor and sincerity of Mr. Serling's dialogue made 'The Time Element' consistently entertaining," offered Jack Gould of The New York Times . Over 6,000 letters of praise flooded Granet's offices. Convinced that a series based on such stories could succeed, CBS again began talks with Serling about the possibilities of producing The Twilight Zone . "Where Is Everybody?" was accepted as the pilot episode and the project was officially announced to the public in early 1959. Other than reruns at the time "The Time Element" was not aired on television again until it was shown as part of a 1996 all-night sneak preview of the new cable channel TVLand. It is available in an Italian DVD boxed set titled Ai confini della realtà – I tesori perduti . The Twilight Zone Season 1 Blu-ray boxed set released on September 14, 2010, offers a remastered high-definition version of the original Desilu Playhouse production as a special feature.

Original series (1959–1964)

The series was produced by Cayuga Productions, Inc., a production company owned and named by Serling. It reflects his background in Central New York State and is named after Cayuga Lake, on which he owned a home, and where Cornell University and Ithaca College are located.

Aside from Serling, who wrote or adapted nearly two-thirds of the series' total episodes, writers for The Twilight Zone included leading authors such as Charles Beaumont, Ray Bradbury, Earl Hamner, Jr., George Clayton Johnson, Richard Matheson, Reginald Rose, and Jerry Sohl. Many episodes also featured new adaptations of classic stories by such writers as Ambrose Bierce, Jerome Bixby, Damon Knight, John Collier, and Lewis Padgett.

Twilight Zone 's writers frequently used science fiction as a vehicle for social comment, as networks and sponsors who censored controversial material from live dramas were less concerned with seemingly innocuous fantasy and sci-fi stories. Frequent themes on The Twilight Zone included nuclear war, McCarthyism, and mass hysteria, subjects that were avoided on less serious primetime television. Episodes such as "The Monsters Are Due on Maple Street" and "I Am the Night—Color Me Black" offered specific commentary on current events and social issues. Other stories, such as "The Masks", "I Dream of Genie", or "Mr. Denton on Doomsday" were allegories, parables, or fables that reflected the moral and philosophical choices of the characters.

Despite his esteem in the writing community, Serling found the series difficult to sell. Few critics felt that science fiction could transcend empty escapism and enter the realm of adult drama. In a September 22, 1959, interview with Serling, Mike Wallace asked a question illustrative of the times: "...[Y]ou're going to be, obviously, working so hard on The Twilight Zone that, in essence, for the time being and for the foreseeable future, you've given up on writing anything important for television, right?" While Serling's appearances on the show became one of its most distinctive features, with his clipped delivery still widely imitated today, he was reportedly nervous about it and had to be persuaded to appear on camera. Serling often steps into the middle of the action while the characters remain oblivious to him, but on one notable occasion, they are aware of his presence: In the episode "A World of His Own", a writer (Keenan Wynn) with the power to alter his reality objects to Serling's narration and promptly erases Serling from the show.

In season two, due to budgetary constraints, the network decided – against Serling's wishes – to cut costs by shooting some episodes on videotape rather than film. The requisite multicamera setup of the videotape format precluded location shooting, severely limiting the potential scope of the storylines, and the experiment was abandoned after just six episodes ("Twenty Two", "Static", "The Whole Truth", "The Lateness of the Hour", "The Night of the Meek", and "Long Distance Call").

The original series contains 156 episodes. The episodes in seasons one through three are 30 minutes long with commercials (24 or 25 minutes without commercials). Season four (1962–63) consists of one-hour episodes with commercials (51 minutes without commercials). Season five returned to the half-hour format.

First revival (1985–1989)

It was Serling's decision to sell his share of the series back to the network that eventually allowed for a Twilight Zone revival. As an in-house production, CBS stood to earn more money producing The Twilight Zone than it could by purchasing a new series produced by an outside company. Even so, the network was slow to consider a revival, turning down offers from the original production team of Rod Serling and Buck Houghton and later from American filmmaker Francis Ford Coppola.

CBS gave the new Twilight Zone a greenlight in 1984 under the supervision of Carla Singer, then Vice President of Drama Development. While the show did not come close to matching the enduring popularity of the original, some episodes – particularly Alan Brennert's love story "Her Pilgrim Soul" and J. Neil Schulman's "Profile in Silver" – were critically acclaimed. In a tribute to the original series, the opening credits include a brief image of Rod Serling. Four episodes are remakes of those from the original series: "Night of the Meek", "Shadow Play", "The After Hours" and "A Game of Pool", while "Dead Woman's Shoes" is an adaptation of "Dead Man's Shoes". Unlike the original series and the second revival, this series does not include the opening monologue during the title sequence. As well, the narration is all strictly voice-over and the narrator never appears on-screen.

Rod Serling's Lost Classics (1994)

In the early 1990s, Richard Matheson and Carol Serling produced an outline for a two-hour made-for-TV movie which would feature Matheson adaptations of three yet-unfilmed Rod Serling short stories. Outlines for such a production were rejected by CBS until early 1994, when Serling's widow discovered a complete shooting script ("Where the Dead Are") authored by her late husband, while rummaging through their garage. She showed the forgotten script to producers Michael O'Hara and Laurence Horowitz, who were significantly impressed by it. "I had a pile of scripts, which I usually procrastinate about reading. But I read this one right away and, after 30 pages, called my partner and said, "I love it," recalled O'Hara. "This is pure imagination, a period piece, literate – some might say wordy. If Rod Serling's name weren't on it, it wouldn't have a chance at getting made."

Eager to capitalize on Serling's celebrity status as a writer, CBS packaged "Where the Dead Are" with Matheson's adaptation of "The Theatre", debuting as a two-hour feature on the night of May 19, 1994, under the name Twilight Zone: Rod Serling's Lost Classics . The title represents a misnomer, as both stories were conceived long after Twilight Zone's cancellation. Written just months before Serling's death, "Where the Dead Are" starred Patrick Bergin as a 19th-century doctor who stumbles upon a mad scientist's medical experiments with immortality. "The Theatre" starred Amy Irving and Gary Cole as a couple who visits a cineplex where they discover the feature presentation depicts their own lives. James Earl Jones provided opening and closing narrations.

Critical response was mixed. Gannett News Service described it as "taut and stylish, a reminder of what can happen when fine actors are given great words." USA Today was less impressed, even suggesting that Carol Serling "should have left these two unproduced mediocrities in the garage where she found them." Ultimately, ratings proved insufficient to justify a proposed sequel featuring three scripts adapted by Matheson.

Second revival (2002–2003)

A second revival was developed by UPN in 2002, it was hosted by Forest Whitaker. It was broadcast in a one-hour format composed of two half-hour stories, it was canceled after one season. "It's Still a Good Life" is a sequel to "It's a Good Life", "The Monsters Are on Maple Street" is an adaptation of "The Monsters Are Due on Maple Street" and "Eye of the Beholder" is a remake of an episode from the original series, with Serling still credited as writer.

Third revival (2019–present)

In December 2012, it was reported that Bryan Singer was developing and executive producing a third revival television series for CBS Television Studios. A writer for the series was not chosen and the program was not pitched to any networks. CBS, which broadcast the original series and first revival, was reportedly interested. In February 2013, Singer told TG Daily that the project was still in development and that he hoped to direct the pilot and have A-list actors appear on the revival. The following month, he told IGN that a writer with whom he had previously worked was in negotiations to join the revival and that he felt "passionate" towards the original series and the planned revival.

In February 2016, it was reported that Ken Levine would write and direct the pilot episode of the revival series. It was also reported that the series would be interactive. In November 2017, it was reported that Jordan Peele was developing a reboot of the series for streaming service CBS All Access with Marco Ramirez serving as potential showrunner. In December 2017, CBS All Access ordered the third The Twilight Zone revival to series. It was announced that the series would be produced by CBS Television Studios in association with Monkeypaw Productions and Genre Films. Jordan Peele, Marco Ramirez, and Simon Kinberg will serve as executive producers for the series and collaborate on the premiere episode. Win Rosenfeld and Audrey Chon will also serve as executive producers. Peele was revealed to be the new host and narrator in September 2018, and the new opening sequence was released. The series premiered on April 1, 2019.

The second episode of the series, "Nightmare at 30,000 Feet", is based on "Nightmare at 20,000 Feet".

  • Condition: Ungraded
  • Approximate Size of Card: 3.5 inches x 2.5 inches
  • Country/Region of Manufacture: United States
  • Year Manufactured: 2005
  • Features: Individual Base Card
  • Subject Type: TV & Movies
  • Manufacturer: Rittenhouse
  • Genre: Rod Serling, Classic Sci-Fi, Cult TV Show, Action, Sci-Fi
  • Set: Series 4: Science & Superstition
  • Franchise: Twilight Zone
  • Graded: No

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