1956 Israel TEL AVIV Film MOVIE CARD Cinema TOM JERRY Hebrew LANA TURNER Disney

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285746931896 1956 Israel TEL AVIV Film MOVIE CARD Cinema TOM JERRY Hebrew LANA TURNER Disney. DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL advrtising ILLUSTRATED and PHOTOGRAPHED FILM MOVIE CARD dated 1956 both for the ISRAEL 1956 PREMIERE of the "TOM And JERRY" festival in the legenday "CINEMA MERKAZ" Cinema hall in TEL AVIV - ISRAEL as well as for the very young and attractive M.G.M. movie star LANA TURNER. Very archaic Hebrew - Typical to Israel Hebrew 1950's advertisements. Size around 3.5" x 5.5" . Printed in B&W and red . The verso is blank - empty . Good condition . Slightly stained and worn. ( Pls look at scan for accurate AS IS images ) The advertisement card will be sent flat in a special protective rigid sealed package.

PAYMENTS : Payment method accepted : Paypal & All credit cards  .

SHIPPMENT : Shipp worldwide via registered airmail is $ 19.  Card will be sent inside a protective packaging . Will be sent around 5-10 days after payment . 

Tom and Jerry is an American animated series of short films created in 1940, by William Hanna and Joseph Barbera. It centers on a rivalry between its two main characters, Tom Cat and Jerry Mouse, and many recurring characters, based around slapstick comedy. In its original run, Hanna and Barbera produced 114 Tom and Jerry shorts for Metro-Goldwyn-Mayer from 1940 to 1957. During this time, they won seven Academy Awards for Animated Short Film, tying for first place with Walt Disney's Silly Symphonies with the most awards in the category. After the MGM cartoon studio closed in 1957, MGM revived the series with Gene Deitch directing an additional 13 Tom and Jerry shorts for Rembrandt Films from 1960 to 1962. Tom and Jerry then became the highest-grossing animated short film series of that time, overtaking Looney Tunes. Chuck Jones then produced another 34 shorts with Sib-Tower 12 Productions between 1963 and 1967. Two more shorts were produced, The Mansion Cat in 2001 and The Karate Guard in 2005, for a total of 163 shorts. Various shorts have been released for home media since the 1990s. A number of spin-offs have been made, including the television series The Tom and Jerry Show (1975–77), The Tom and Jerry Comedy Show (1980–82), Tom & Jerry Kids (1990–94), Tom and Jerry Tales (2006–08), and The Tom and Jerry Show (2014–present). The first feature-length film based on the series, Tom and Jerry: The Movie, was released in 1992, and multiple direct-to-video films have been produced since 2002. Numerous Tom and Jerry shorts have been subject to controversy, mainly over racial stereotypes which involves the portrayal of the recurring black character Mammy Two Shoes and characters appearing in blackface. Other controversial themes include cannibalism and the glamorization of smoking. The series features comedic fights between an iconic set of enemies, a house cat (Tom) and mouse (Jerry). The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that follows. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. However, there are also several instances within the cartoons where they display genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escaped the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger. The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation such as Tom using everything from axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent due to their frequent success, including slicing Tom in half, decapitating him, shutting his head in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, causing trees or electric poles to drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.[1] Because of this, Tom and Jerry has often been criticized as excessively violent. Despite the frequent violence, there is no blood or gore in any scene.[2]:42[3]:134 Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me In St. Louis. Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams. Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives and printed by Technicolor; the 1960s entries were done in Metrocolor. The 1960s entrees also returned to the standard Academy ratio and format, too. The 2005 short The Karate Guard was also filmed in the standard Academy ratio and format, too. Characters Tom Cat and Jerry Mouse Tom (named "Jasper" in his debut appearance) is a grey and white domestic shorthair cat. He usually lives a pampered life, although the characters usually live in several lifestyles, while Jerry (named "Jinx" in his debut appearance) is a small brown house mouse who always lives in close proximity to him. "Tom" is a generic name for a male cat (The Warner Bros. cartoon character Sylvester was originally named Thomas).[citation needed] Jerry possesses surprising strength for his size, lifting items such as anvils with relative ease and withstanding considerable impacts with them. Despite the typical cat-eats-mouse scenario, it is surprisingly quite rare for Tom to actually try and consume Jerry; most of his attempts are just to torment or humiliate Jerry. Despite being very energetic and determined, Tom is no match for Jerry's brains and wits. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser. However, other results may be reached; on rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or when he crosses some sort of line (the best example of which occurs in The Million Dollar Cat where, after finding out that Tom's newly acquired wealth will be taken away if he harms any animal, including a mouse, he torments Tom until Tom finally loses his temper and attacks him). Sometimes, usually ironically, they both lose, usually when Jerry's last trap potentially backfires on him after it affects Tom (An example is in Chuck Jones' Filet Meow short where Jerry orders a shark to scare Tom away from eating a goldfish. Afterwards, the shark scares Jerry away as well) or when Jerry overlooks something at the end of the course. Sometimes, they both end up being friends (only for something to happen so that Tom will chase Jerry again). Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other. However, depending on the cartoon, whenever one character appears to be in mortal danger (in a dangerous situation or by a third party), the other will develop a conscience and save him. Sometimes, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens or when one character feels that the other is no longer necessary. (Example is when in Posse Cat, when Jerry decides to pretend to get chased by Tom in exchange for half his food. Tom agrees to this, but then he goes back on his word later.) Other times however, Tom does keep his promise to Jerry and the partnerships are not quickly dissolved after the problem is solved. Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons. Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven), Yankee Doodle Mouse and in Safety Second, while in The Two Mouseketeers he is guillotined offscreen. Although many supporting and minor characters speak, Tom and Jerry rarely do so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is or Is You Ain't My Baby" in the 1946 short Solid Serenade. In that one as well as Zoot Cat, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In Tom and Jerry: The Magic Ring, Jerry says, "No, no, no, no, no," when choosing the shop to remove his ring. In The Mouse Comes to Dinner Tom speaks to his girlfriend while inadvertently sitting on a stove: "Say, what's cookin'?" (The girl replies "You are, stupid"). Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp. The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans – at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to the then-popular 1940s radio show Don't You Believe It. [4][5] In Mouse Trouble, Tom says "Don't you believe it!" after being beaten up by Jerry (this also happens in The Missing Mouse.) In the 1946 short Trap Happy, Tom hires a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse, while Jerry was voiced by Sara Berner during his appearance in the 1945 MGM musical Anchors Aweigh. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak. In that movie, Tom was voiced by Richard Kind, and Jerry was voiced by Dana Hill. Spike and Tyke In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but extremely unintelligent bulldog who tries to attack Tom for bothering his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between grey and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke). Most cartoons with Spike in it have a system; usually Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him from doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterwards Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaving Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually due to the fact that Tom is usually framed by Jerry and that Spike just doesn't like Tom). Off-screen, Spike does something to Tom and finally Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. At least once however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussycat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son. Tyke is described as a cute, sweet looking, happy and a lovable puppy. He is Spike's son, but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Tyke's father Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from grey (with white paws) to creamy tan. When Tom and Jerry Kids first aired, this was the first time that viewers were able to hear Tyke speak. Butch and Toodles Galore Butch is a black cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he's usually seen rivaling Tom over Toodles. Butch was also Tom's pal or chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most episodes. Both characters were originally introduced in Hugh Harman's 1941 short The Alley Cat, but were integrated into Tom and Jerry rather than continuing in their own series. Nibbles Nibbles is a small grey mouse who often appears in episodes as Jerry's nephew. He is a carefree individual who very rarely understands the danger of the situation, simply following instructions the best he can both to Jerry's command and his own innocent understanding of the situation. This can lead to such results as "getting the cheese" by simply asking Tom to pick it up for him, rather than following Jerry's example of outmaneuvering and sneaking around Tom. Many times Nibbles is an ally of Jerry in fights against Tom, including being the second Mouseketeer. He is given speaking roles in all his appearances as a Mouseketeer, often with a high-pitched French tone. However, during an episode to rescue Robin Hood, his voice was instead more masculine, gruff, and cockney accented. Mammy Two Shoes Mammy Two Shoes is a heavy-set middle-aged black woman who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was never shown (except very briefly in Saturday Evening Puss). Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype now often regarded as racist. She was restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg explaining the importance of African-American representation in the cartoon series, however stereotyped. History and evolution "Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom (1823) by Pierce Egan.[6] However Brewer notes no more than an "unconscious" echo of the Regency era original in the naming of the cartoon.[7] Hanna-Barbera era (1940–1958) William Hanna and Joseph Barbera were both part of the Rudolf Ising unit at the MGM cartoon studio in the late 1930s. After the financial disaster of a series of MGM cartoons based upon the Captain and the Kids comic strip characters, Barbera, a storyman and character designer, was paired (out of desperation) with Hanna, an experienced director, to start directing films for the Ising unit. In their first discussion for a cartoon, Barbera suggested a cat-and-mouse cartoon titled Puss Gets the Boot. "We knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought", as he recalled in an interview.[8] Hanna and other employees complained that the idea wasn't very original; nevertheless, the short was completed in late 1939, and released to theaters on February 10, 1940. Puss Gets The Boot centers on Jasper, a gray tabby cat trying to catch a mouse named Jinx (whose name is not mentioned within the cartoon itself), but after accidentally breaking a houseplant and its stand, the African American housemaid Mammy has threatened to throw Jasper out if he breaks one more thing in the house. Naturally, Jinx uses this to his advantage, and begins tossing any and everything fragile, so that Jasper will be thrown outside. Puss Gets The Boot was previewed and released without fanfare, and Hanna and Barbera went on to direct other non-cat-and-mouse related shorts such as Gallopin' Gals (1940) and Officer Pooch (1941). "After all," remarked many of the MGM staffers, "haven't there been enough cat-and-mouse cartoons already?" The pessimistic attitude towards the cat and mouse duo changed when the cartoon became a favorite with theater owners and with the Academy of Motion Picture Arts and Sciences, which nominated the film for the Academy Award for Best Short Subject: Cartoons of 1941. It lost to another MGM cartoon, Rudolph Ising's The Milky Way. Producer Fred Quimby, who ran the MGM animation studio, quickly pulled Hanna and Barbera off the other one-shot cartoons they were working on, and commissioned a series featuring the cat and mouse. Hanna and Barbera held an intra-studio contest to give the pair a new name by drawing suggested names out of a hat; animator John Carr won $50 with his suggestion of Tom and Jerry.[9] The Tom and Jerry series went into production with The Midnight Snack in 1941, and Hanna and Barbera rarely directed anything but the cat-and-mouse cartoons for the rest of their tenure at MGM. Barbera would create the story for each short while Hanna would supervise production. Tom's physical appearance evolved significantly over the years. During the early 1940s, Tom had an excess of detail—shaggy fur, numerous facial wrinkles, and multiple eyebrow markings, all of which were streamlined into a more workable form by the end of the 1940s. In addition, he also looked like a more realistic cat early on; evolving from his quadrupedal beginnings Tom to become increasingly and almost exclusively bipedal. By contrast, Jerry's design remained essentially the same for the duration of the series. By the mid-1940s, the series had developed a quicker, more energetic and violent tone, due to the inspiration from the work of their colleague in the MGM cartoon studio, Tex Avery, who joined the studio in 1942. Even though the theme of each short is virtually the same – cat chases mouse – Hanna and Barbera found endless variations on that theme. Barbera's storyboards and rough layouts and designs, combined with Hanna's timing, resulted in MGM's most popular and successful cartoon series. Thirteen entries in the Tom and Jerry series (including Puss Gets The Boot) were nominated for the Academy Award for Best Short Subject: Cartoons; seven of them went on to win the Academy Award, breaking the Disney studio's winning streak in that category. Tom and Jerry won more Academy Awards than any other character-based theatrical animated series. Tom and Jerry remained popular throughout their original theatrical run, even when the budgets began to tighten in the 1950s and the pace of the shorts slowed slightly. However, after television became popular in the 1950s, box office revenues decreased for theatrical films, and short subjects. At first, MGM combated this by going to all-CinemaScope production on the series. After MGM realized that their re-releases of the older cartoons brought in just as much money as the new cartoons did, the studio executives decided, much to the surprise of the staff, to close the animation studio. The MGM cartoon studio was shut down in 1957, and the final of the 114 Hanna-Barbera Tom and Jerry shorts, Tot Watchers, was released on August 1, 1958. Hanna and Barbera established their own television animation studio, Hanna-Barbera Productions, in 1957, which went on to produce TV shows, such as The Flintstones, The Yogi Bear Show and The Smurfs. Gene Deitch era (1961–1962) In 1960, MGM revived the Tom and Jerry franchise, and contacted European animation studio Rembrandt Films to produce thirteen Tom and Jerry shorts overseas.[10][11][12][13] All thirteen shorts were directed by Gene Deitch and produced by William L. Snyder in Prague, Czechoslovakia.[10][13] Štěpán Koníček, a student of Karel Ančerl and conductor of the Prague Film Symphony Orchestra, and Václav Lídl provided the musical score for the Deitch shorts, while Larz Bourne, Chris Jenkyns, and Eli Bauer wrote the cartoons. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift.[14] Deitch states that, being an animator for the United Productions of America (UPA), he has always had a personal dislike of Tom and Jerry, citing them as the "primary bad example of senseless violence – humor based on pain – attack and revenge – to say nothing of the tasteless use of a headless black woman stereotype house servant."[15] He nonetheless admired the "great timing, facial expressions, double takes, squash and stretch" that were present in the Hanna-Barbera Tom and Jerry cartoons.[16] For the purposes of avoiding being linked to Communism, Deitch altered the names for his crew in the opening credits of the shorts (e.g., Štěpán Koníček became "Steven Konichek", Václav Lídl became "Victor Little").[15] These shorts are among the few Tom and Jerry cartoons not to carry the "Made In Hollywood, U.S.A." phrase on the end title card.[15] Due to Deitch's studio being behind the Iron Curtain, the production studio's location is omitted entirely on it.[15] After the thirteen shorts were completed, Joe Vogel, the head of production, was fired from MGM. Vogel had approved of Deitch and his team's work, but MGM decided not to renew their contract after Vogel was fired.[15] The final of the thirteen shorts, Carmen Get It!, was released on December 1, 1962.[11] Since the Deitch/Snyder team had seen only a handful of the original Tom and Jerry shorts, and since the team produced their cartoons on a tighter budget of $10,000, the resulting films were considered unusual, and, in many ways, bizarre.[11][15] The characters' gestures were often performed at high speed, frequently causing heavy motion blur and making the animation look choppy and sickly. The soundtracks featured sparse and echoic electronic music, futuristic sound effects, heavy reverb, and dialogue that was mumbled rather than spoken. Fans that typically rooted for Tom criticized Deitch's cartoons for never having Tom become a threat to Jerry, mainly due to the constant intervention of his replacement owner – a corpulent, grumpy middle-aged white man whom was also more graphically brutal in punishing Tom's mistakes as compared to Mammy Two-Shoes, by beating and thrashing Tom repeatedly, searing his face with a grill, and forcing Tom to drink an entire carbonated beverage. Despite their large lack of popularity, the Gene Deitch Tom and Jerry cartoons are still rerun today on the Cartoon Network and Boomerang channels on a semi-regular basis.[15] Deitch's Tom and Jerry shorts have seen limited release outside of Europe and Asia. All thirteen shorts are currently available in Japan, where they have been ported to the Tom and Jerry & Droopy laserdisc and VHS, and the United Kingdom, where the shorts are available on the second side of the Tom and Jerry Classic Collection: Volume 5 DVD. The only three shorts to have seen DVD release in the United States are The Tom and Jerry Cartoon Kit, Down and Outing, and Carmen Get It!, where they are included on the Paws for a Holiday VHS and DVD,[17] Summer Holidays DVD, and Musical Mayhem DVD, respectively. All thirteen shorts were commercial successes; in 1961, the Tom and Jerry series became the highest-grossing animated short film series of that time, dethroning Looney Tunes which had held the position for sixteen years; this success was repeated once more in 1962.[13] However, unlike the Hanna and Barbera shorts, none of Deitch's films were nominated for nor did they win an Academy Award.[13] The episodes created by Deitch have generally been less favorably received by audiences. In his review for Tom and Jerry: The Chuck Jones Collection, Paul Kupperberg of Comicmix called the shorts "perfectly dreadful" and "too often released", as well as a result of "cheap labor".[18] Deitch has frequently defended his films; in an interview with the New York Times, when asked about working on the Tom and Jerry series, Deitch responded "All the experts say [my shorts are] the worst of the 'Tom and Jerry', [...] I was a UPA man – my whole background was much closer to the Czechs. 'Tom and Jerry' I always considered dreck, but they had great timing, facial expressions, double takes, squash and stretch," all of which the interviewer stated were "techniques the Czechs had to learn," adding, "The Czech style had nothing in common with these gag-driven cartoons."[16] Chuck Jones era (1963–1967) After the last of the Deitch cartoons were released, Chuck Jones, who had been fired from his thirty-plus year tenure at Warner Bros. Cartoons, started his own animation studio, Sib Tower 12 Productions, with partner Les Goldman. Beginning in 1963, Jones and Goldman went on to produce 34 more Tom and Jerry shorts, all of which carried Jones' distinctive style (and a slight psychedelic influence). However, despite being animated by essentially the same artists who worked with Jones at Warners, these new shorts had varying degrees of critical success. Jones had trouble adapting his style to Tom and Jerry's brand of humor, and a number of the cartoons favored full animation, personality and style over storyline. The characters underwent a slight change of appearance: Tom was given thicker eyebrows (resembling Jones' Grinch, Count Blood Count or Wile E Coyote), a less complex look (including the color of his fur becoming gray), sharper ears, longer tail and furrier cheeks (resembling Jones' Claude Cat or Sylvester), while Jerry was given larger eyes and ears, a lighter brown color, and a sweeter, Porky Pig-like expression. Some of Jones' Tom and Jerry cartoons are reminiscent of his work with Wile E. Coyote and The Road Runner, included the uses of blackout gags and gags involving characters falling from high places. Jones co-directed the majority of the shorts with layout artist Maurice Noble. The remaining shorts were directed by Abe Levitow and Ben Washam, with Tom Ray directing two shorts built around footage from earlier Tom and Jerry cartoons directed by Hanna and Barbera, and Jim Pabian directed a short with Maurice Noble. Various vocal characteristics were made by Mel Blanc and June Foray. Jones' efforts are considered superior to the previous Deitch efforts (and most cartoons made during that time, albeit visually), and contain the memorable opening theme, in which Tom first replaces the MGM lion, then is trapped inside the "O" of his name.[19] Though Jones managed to recapture some of the magic from the original Hanna-Barbera efforts, MGM ended production on Tom and Jerry in 1967, by which time Sib Tower 12 had become MGM Animation/Visual Arts. Jones had moved on to television specials and the feature film The Phantom Tollbooth.[19] Tom and Jerry hit television Beginning in 1965, the Hanna and Barbera Tom and Jerry cartoons began to appear on television in heavily edited form. The Jones team was required to take the cartoons featuring Mammy Two-Shoes and remove her by pasting over the scenes featuring her with new scenes. Most of the time, she was replaced with a similarly fat White Irish woman; occasionally, as in Saturday Evening Puss, a thin white teenager took her place instead, with both characters voiced by June Foray. However, recent telecasts on Cartoon Network and Boomerang retain Mammy with new voiceover work performed by Thea Vidale to remove the stereotypical black jargon featured on the original cartoon soundtracks. Debuting on CBS' Saturday morning schedule on September 25, 1965, Tom and Jerry moved to CBS Sundays two years later and remained there until September 17, 1972. The intros of each episode shown on TV and DVD today are re-issues from the late 1940s–1960s, with the exception of Puss Gets the Boot, The Night Before Christmas and the post-1954 shorts, which still retain their original opening and closing credits respectively. The intros of each episode shown on theatrical, Tom and Jerry Golden Collection DVD releases and Blu-ray today are the original opening and closing titles from the 1940s, 1950s and 1960s and the negatives removed from the original titles. Second Hanna-Barbera era: The Tom and Jerry Show (1975–1977) In 1975, Tom and Jerry were reunited with Hanna and Barbera, who produced new Tom and Jerry cartoons for Saturday mornings. These 48 seven-minute short cartoons were paired with Grape Ape and Mumbly cartoons, to create The Tom and Jerry/Grape Ape Show, The Tom and Jerry/Grape Ape/Mumbly Show, and The Tom and Jerry/Mumbly Show, all of which initially ran on ABC Saturday Morning between September 6, 1975 and September 3, 1977. In these cartoons, Tom and Jerry (now with a red bow tie), who had been enemies during their formative years, became nonviolent pals who went on adventures together, as Hanna-Barbera had to meet the stringent rules against violence for children's TV. The Tom and Jerry Show is still airing on the Canadian channel, Teletoon, and its classical counterpart, Teletoon Retro. This 1975-styled format was no longer used in the newer Tom and Jerry entrees.[19] Filmation era (1980–1982) Filmation Studios (in association with MGM Television) also tried their hands at producing a Tom and Jerry TV series. Their version, The Tom and Jerry Comedy Show, debuted in 1980, and also featured new cartoons starring Droopy, Spike (from Tom & Jerry, and the same version also used in Droopy), Slick Wolf, and Barney Bear, not seen since the original MGM shorts. The Filmation Tom and Jerry cartoons were noticeably different from Hanna-Barbera's efforts, as they returned Tom and Jerry to the original chase formula, with a somewhat more "slapstick" humor format. This incarnation, much like the 1975 version, was not as well received by audiences as the originals, and lasted on CBS Saturday Morning from September 6, 1980 to September 4, 1982.[19] Its animation style bore a strong resemblance to that of The New Adventures of Mighty Mouse and Heckle & Jeckle. Tom and Jerry's new owners In 1986, MGM was purchased by WTBS founder Ted Turner. Turner sold the company a short while later, but retained MGM's pre-1986 film library, thus Tom and Jerry became the property of Turner Entertainment (where the rights stand today via Warner Bros.), and have in subsequent years appeared on Turner-run stations, such as TBS, TNT, Cartoon Network, The WB, Boomerang, and Turner Classic Movies. Third Hanna-Barbera era: Tom and Jerry Kids (1990–1994) One of the biggest trends for Saturday morning television in the 1980s and 1990s was the "babyfication" of older, classic cartoon stars, and on March 2, 1990, Tom and Jerry Kids, co-produced by Turner Entertainment and Hanna-Barbera Productions (which would be sold to Turner in 1991) debuted on Fox Kids and for a few years, aired on British children's show, CBBC. It featured a youthful version of the famous cat-and-mouse duo chasing each other. As with the 1975 H-B series, Jerry wears his red bowtie, while Tom now wears a red cap. Spike and his son Tyke (who now had talking dialogue) and Droopy and his son Dripple, appeared in back-up segments for the show, which ran until November 18, 1994. Tom and Jerry Kids was the last Tom and Jerry cartoon series produced in 4:3 (full screen) aspect ratio. Individual episodes (2001 and 2005) In 2001, a new television special titled Tom and Jerry: The Mansion Cat premiered on Boomerang. It featured Joe Barbera (who was also a creative consultant) as the voice of Tom's owner, whose face is never seen. In this cartoon, Jerry, housed in a habitrail, is as much of a house pet as Tom is, and their owner has to remind Tom to not "blame everything on the mouse". In 2005, a new Tom and Jerry theatrical short, titled The Karate Guard, which had been written and directed by Barbera and Spike Brandt, storyboarded by Joseph Barbera and Iwao Takamoto and produced by Joseph Barbera, Spike Brandt and Tony Cervone premiered in Los Angeles cinemas on September 27, 2005. As part of the celebration of Tom and Jerry's sixty-fifth anniversary, this marked Barbera's first return as a writer, director and storyboard artist on the series since his and Hanna's original MGM cartoon shorts. Director/animator, Spike Brandt was nominated for an Annie award for best character animation. The short debuted on Cartoon Network on January 27, 2006. Warner Bros. era (2006–2008) During the first half of 2006, a new series called Tom and Jerry Tales was produced at Warner Bros. Animation. Thirteen half-hour episodes (each consisting of three shorts, some of them—like The Karate Guard—were produced and completed in 2003 as part of a 30-plus theatrical cartoon schedule aborted after the financial disaster of Looney Tunes Back in Action) were produced, with only markets outside of the United States and United Kingdom signed up. The show then came to the UK in February 2006 on Boomerang, and it went to the U.S. on Kids' WB on The CW.[20] Tales is the first Tom and Jerry TV series that utilizes the original style of the classic shorts, along with the slapstick. The series was canceled in 2008, shortly before the Kids' WB block shut down. In January 2012, the series returned and moved to Cartoon Network, but only reruns showed under the "new episodes" moniker. Tom and Jerry Tales was also the first Tom and Jerry cartoon series produced in 16:9 (widescreen) aspect ratio but cropped to 4:3 (full screen). Second Warner Bros. era (2014) Cartoon Network has announced a new series consisting of two 11-minute shorts that will preserve the look, core characters and sensibility of the original theatrical shorts. Similar to other reboot works like Scooby-Doo! Mystery Incorporated and The Looney Tunes Show, the series will bring Tom and Jerry into a contemporary environment, telling new stories and relocating the characters to more fantastic worlds, from a medieval castle to a mad scientist's lab. Titled The Tom and Jerry Show, the series is produced by Warner Bros. Animation, with Sam Register serving as executive producer in collaboration with Darrell Van Citters and Ashley Postelwaite at Renegade Animation. Originally slated for an undated 2013 Cartoon Network premiere[21] before being pushed back to April 9, 2014, this is the second Tom and Jerry production presented in 16:9 widescreen aspect ratio.[22] In November 2014 a two-minute sketch was shown as part of the Children In Need Telethon in the United Kingdom, the sketch was produced as a collaboration with Warner Bros.[23] Tom and Jerry outside the United States When shown on terrestrial television in the United Kingdom (from 1967 to 2000, usually on the BBC) Tom and Jerry cartoons were not cut for violence, and Mammy was retained. As well as having regular slots (mainly after the evening BBC News with around 2 episodes shown every evening and occasionally shown on children's network CBBC in the morning), Tom and Jerry served the BBC in another way. When faced with disruption to the schedules (such as those occurring when live broadcasts overrun), the BBC would invariably turn to Tom and Jerry to fill any gaps, confident that it would retain much of an audience that might otherwise channel hop. This proved particularly helpful in 1993, when Noel's House Party had to be cancelled due to an IRA bomb scare at BBC Television Centre—Tom and Jerry was shown instead, bridging the gap until the next programme.[citation needed] In 2006, a mother complained to OFCOM of the smoking scenes shown in the cartoons, since Tom often attempts to impress love interests with the habit, resulting in reports that the smoking scenes in Tom and Jerry films may be subject to censorship.[24] Due to its lack of dialogue, Tom and Jerry was easily translated into various foreign languages. Tom and Jerry began broadcast in Japan in 1965. A 2005 nationwide survey taken in Japan by TV Asahi, sampling age groups from teenagers to adults in their sixties, ranked Tom and Jerry #85 in a list of the top 100 "anime" of all time; while their web poll taken after the airing of the list ranked it at #58 – the only non-Japanese animation on the list, and beating anime classics like Tsubasa: Reservoir Chronicle, A Little Princess Sara, and the ultra-classics Macross and Ghost in the Shell (it should be noted that in Japan, the word "anime" refers to all animation regardless of origin, not just Japanese animation).[25] Tom and Jerry is long-time licensed mascots for Nagoya-based Juuroku Bank. Tom and Jerry have long been popular in Germany. However, the cartoons are overdubbed with rhyming German language verse that describes what is happening onscreen, sometimes adding or revising information. The different episodes are usually complemented with key scenes from Jerry's Diary (1949), in which Tom reads about past adventures. The show has been aired in Mainland China by CCTV in the late 1980s to early 1990s, and was extremely popular at the time. In Argentina, Armenia, Brazil, Colombia, Chile, Egypt, India, Indonesia, Kazakhstan, Lebanon, Mexico, the Middle East, Pakistan, several South East Asia countries, Venezuela, other Latin American countries, and in eastern European countries (such as Romania), Cartoon Network still airs Tom and Jerry cartoons every day. In Russia, local channels also air the show in their daytime programming slot. Tom and Jerry was one of the few cartoons of western origin broadcast in Czechoslovakia (1988) and Romania (until 1989) before the fall of the Soviet Union in 1989. Even though Gene Deitch's episodes were created in Czechoslovakia (1960–1962), the first official TV release of Tom and Jerry was in 1988. Feature filmsOctober 1, 1992 saw the first international release of Tom and Jerry: The Movie when the film was released overseas to theatres in Europe of that year[26] and then domestically by Miramax Films on July 30, 1993,[27] with future video and DVD releases that would be sold under Warner Brothers. Barbera served as creative consultant for the picture, which was produced and directed by Phil Roman. A musical film with a structure similar to MGM's blockbusters, The Wizard of Oz and Singin' in the Rain, the movie was criticized by critics for giving the pair dialogue (and songs) through the entire movie. It was also criticized because the film did not completely focus on the duo.[citation needed] In 2001, Warner Bros. (which had, by then, merged with Turner and assumed its properties) released the duo's first direct-to-video movie, Tom and Jerry: The Magic Ring, in which Tom covets a ring which grants mystical powers to the wearer, and has become accidentally stuck on Jerry's head. It would mark the last time Hanna and Barbera co-produced a Tom and Jerry cartoon together, as William Hanna died shortly after The Magic Ring was released. Four years later, Bill Kopp scripted and directed two more Tom and Jerry DTV features for the studio, Tom and Jerry: Blast Off to Mars and Tom and Jerry: The Fast and the Furry, the latter one based on a story by Barbera. Both were released on DVD in 2005, marking the celebration of Tom and Jerry's 65th anniversary. In 2006, another direct-to-video film, Tom and Jerry: Shiver Me Whiskers, tells the story about the pair having to work together to find the treasure. Joe came up with the storyline for the next film, Tom and Jerry: A Nutcracker Tale, as well as the initial idea of synchronizing the on-screen actions to music from Tchaikovsky's Nutcracker Suite. This DTV film, directed by Spike Brandt and Tony Cervone, would be Joe Barbera's last Tom and Jerry project due to his passing in December 2006. The holiday-set animated film was released on DVD in late 2007, and dedicated to Barbera. A new direct-to-video film, Tom and Jerry Meet Sherlock Holmes, was released on August 24, 2010. It is the first made-for-video Tom and Jerry movie produced without any of the characters' original creators. The next direct-to-video film, Tom and Jerry and the Wizard of Oz, was released on August 23, 2011 and was the first made-for-video Tom and Jerry movie made for Blu-ray. It had a preview showing on Cartoon Network. Robin Hood and His Merry Mouse was released on Blu-ray and DVD on October 2, 2012.[28] Tom and Jerry's Giant Adventure was released in 2013 on Blu-ray and DVD.[29] Tom and Jerry: The Lost Dragon was released on DVD on September 2, 2014.[30] Tom and Jerry: Spy Quest will be released on DVD on June 23, 2015.[31] Warner Bros. has plans for a theatrically released film starring Tom and Jerry. The film will be, according to Variety, "an origin story that reveals how Tom and Jerry first meet and form their rivalry before getting lost in Chicago and reluctantly working together during an arduous journey home". So far Dan Lin will be producing the film, while screenwriter Eric Gravning is also hired on the project. Warner Bros., in their Variety review, replied they are using Tom and Jerry to create their own "Alvin and the Chipmunks family franchise".[32][33] However, there has not been much information right now.[32][33] Controversy Like a number of other animated cartoons from the 1930s to the early 1950s, Tom and Jerry featured racial stereotypes. After explosions, for example, characters with blasted faces would resemble stereotypical blacks, with large lips and bow-tied hair. Perhaps the most controversial element of the show is the character Mammy Two Shoes, a poor black maid who speaks in a stereotypical "black accent" and has a rodent problem. Joseph Barbera, who was responsible for these gags, claimed that the racial gags in Tom and Jerry did not reflect his racial opinion; they were just reflecting what was common in society and cartoons at the time and were meant to be humorous.[8] Nevertheless, such stereotypes are considered by some to be racist today, and most of the blackface gags are censored when these shots are aired, even though Mouse in Manhattan was shown uncut on July 25, 2012 on Cartoon Network. Mammy Two-Shoes' voice was redubbed by Turner in the mid-1990s to make the character sound less stereotypical; the resulting accent sounds more Irish. One cartoon in particular, His Mouse Friday, is usually kept out of television rotation because of its depiction of cannibals. If shown, the cannibals' dialogue[clarification needed] is censored, although their mouths still move. In Tom and Jerry's Spotlight Collection DVD, a disclaimer by Whoopi Goldberg warns viewers about the potentially offensive material in the cartoons and emphasizes that they were "wrong then and they are wrong today", borrowing a phrase from the Warner Bros. Golden collection. This disclaimer is also used in the Tom and Jerry Golden Collection: Volume 1. The cartoons you are about to see are products of their time. They may depict some of the ethnic and racial prejudices that were commonplace in the U.S. society. These depictions were wrong then and they are wrong today. While the following does not represent the Warner Bros. view of today's society, these cartoons are being presented as they were originally created, because to do otherwise would be the same as claiming that these prejudices never existed. As of 2011, most shorts that feature Mammy Two Shoes, except Part Time Pal, are rarely seen on Cartoon Network and Boomerang. In 2006, United Kingdom channel Boomerang made plans to edit Tom and Jerry cartoons being aired in the UK where the characters were seen to be smoking in a manner that was "condoned, acceptable or glamorized." This followed a complaint from a viewer who thought that smoking was wrong and that the cartoons were not appropriate for younger viewers. There was a subsequent investigation by UK media watchdog OFCOM.[24] It has also taken the U.S. approach by censoring blackface gags, though this seems to be random as not all scenes of this type are cut. In 2013, it was reported that Cartoon Network of Brazil censored 27 shorts on the grounds of being "politically incorrect".[34] In an official release, the channel confirmed that censored only 2 shorts "by editorial issues and appropriateness of the content to the target audience — children of 7 to 11 years".[35] Other formats Tom and Jerry began appearing in comic books in 1942, as one of the features in Our Gang Comics. In 1949, with MGM's live-action Our Gang shorts having ceased production five years earlier, the series was renamed Tom and Jerry Comics. The pair continued to appear in various books for the rest of the 20th century.[36] The pair have also appeared in a number of video games as well, spanning titles for systems from the Nintendo Entertainment System and Super NES and Nintendo 64 to more recent entries for PlayStation 2, Xbox, and Nintendo GameCube. Cultural influences Throughout the years, the term and title Tom and Jerry became practically synonymous with never-ending rivalry, as much as the related "cat and mouse fight" metaphor has. Yet in Tom and Jerry it wasn't the more powerful (Tom) that usually came out on top. Author Steven Millhauser wrote a short story called Cat 'n' Mouse which pits the duo against one another as antagonist and protagonist in literary form. Millhauser allows his reader access to the thoughts and emotions of the two characters in a way that wasn't done in the cartoon. In January 2009, IGN named Tom and Jerry as the 66th best in the Top 100 Animated TV Shows.[37] In popular culture The Simpsons characters, Itchy & Scratchy, the featured cartoon on the Krusty the Clown Show, are spoofs of Tom and Jerry—a "cartoon within a cartoon."[1] In another episode, "Krusty Gets Kancelled", the short cartoon "Worker and Parasite", is a reference to the Eastern European Tom and Jerry cartoons directed by Gene Deitch.[38] In 1945, Jerry made an appearance in the live-action MGM musical feature film Anchors Aweigh, in which, through the use of special effects, he performs a dance routine with Gene Kelly. This sequence was later lifted and reanimated frame-for-frame in the Family Guy episode "Road to Rupert", where Jerry was replaced with Stewie Griffin. (Tom is briefly seen in Anchors Aweigh. He appears as a servant, offering King Jerry some food on a tray.) Both Tom and Jerry appear with Esther Williams in a dream sequence in another big-screen musical, Dangerous When Wet. In 1988, the duo were lined up to appear in the Oscar-winning Disney/Amblin film, Who Framed Roger Rabbit, a homage to classic American animation. However, when the executive producer Steven Spielberg went to acquire the rights in 1986, MGM's pre-1986 library (which Tom and Jerry were a part of) was being purchased by Turner Entertainment which created a series of legal complications. Due to this Spielberg was unable to acquire the rights and Tom and Jerry's inclusion in the film was scrapped. Despite Tom and Jerry's absence from the film, Spike the Bulldog did make two cameos in the film.[39] In an interview found on the DVD releases, several MADtv cast members stated that Tom and Jerry is one of their biggest influences for slapstick comedy. Johnny Knoxville from Jackass has stated that watching Tom and Jerry inspired many of the stunts in the movies.[40]  Lana Turner (/ˈlɑːnə ˈtɜːrnər/; born Julia Jean Turner; February 8, 1921 – June 29, 1995) was an American actress who over the course of her nearly 50-year career achieved fame as both a pin-up model and a dramatic actress as well as for her highly publicized personal life. Turner was discovered in 1936 at the Top Hat Malt Shop in Hollywood, California. At the age of 16, she was signed to a personal contract by Warner Bros. director Mervyn LeRoy, who took her with him when he moved to Metro-Goldwyn-Mayer in 1938. Turner attracted attention in her first film, LeRoy's They Won't Forget (1937), and she later starred in featured roles, often as an ingénue. Her auburn hair was bleached blonde for a 1939 film at MGM, and she remained blonde for the rest of her life, except for a few film roles. During the early 1940s, Turner established herself as a leading actress in such films as Johnny Eager (1941), Honky Tonk (1941), Ziegfeld Girl (1941), and Somewhere I'll Find You (1942). She appeared in the 1941 horror film Dr. Jekyll and Mr. Hyde, and her reputation as a glamorous femme fatale was enhanced by her performance in the film noir The Postman Always Rings Twice (1946). Her popularity continued through the 1950s in such films as The Bad and the Beautiful (1952) and Peyton Place (1957), for which she was nominated for an Academy Award for Best Actress. Media controversy surrounded Turner in 1958 when her daughter Cheryl Crane stabbed Turner's lover Johnny Stompanato to death in their Beverly Hills home during a domestic struggle. Turner's next film, Imitation of Life (1959), proved to be one of the greatest financial successes of her career, but onward from the early 1960s, her roles were fewer. Turner spent most of the 1970s and early 1980s in semi-retirement. In 1982, she accepted a much publicized and lucrative recurring guest role in the television series Falcon Crest, affording the series the highest rating it ever achieved. Turner made her final film appearance in 1985, and died from throat cancer in 1995, aged 74. Contents  [hide]  1 Early life 2 Career 2.1 1937–1939: Discovery and early work 2.2 1940–1945: Establishment as a sex symbol 2.3 1946–47: Shift toward dramatic roles 2.4 1948–1960: Critical successes 2.5 1961–1985: Later roles and television 3 Personal life 3.1 Relationships 3.2 The Stompanato killing 4 Death 5 Legacy 6 Filmography 6.1 Film 6.2 Television 7 Radio appearances 8 Notes 9 References 10 Works cited 11 Further reading 12 External links Early life[edit] Turner at age five Turner's childhood home in Wallace, Idaho Lana Turner was born Julia Jean Turner [1] on February 8, 1921 at Providence Hospital[2] in the small mining town of Wallace, Idaho in the Idaho Panhandle region.[3][4] She was the only child of John Virgil Turner, a miner from Mt. Pleasant, Tennessee (September 11, 1894 – December 14, 1930),[5] who was 26 years old when Turner was born, and Mildred Frances Cowan from Lamar, Arkansas (February 12, 1904 – February 22, 1982),[6] who was 16 years old when Turner was born. She was of Dutch, English, Irish, and Scottish ancestry.[7] The Turner family lived in Burke, Idaho at the time of her birth,[8] and relocated to nearby Wallace,[a]where Turner's father opened a dry cleaning service and worked in the silver mines.[10] As a child, Julia Turner was known to family and friends as "Judy". Turner expressed interest in performance at a young age, performing short routines at her father's Elks chapter in Wallace.[11] Hard times forced the family to relocate to San Francisco, California when Turner was six years old, and her parents soon separated.[12] On December 14, 1930,[13] her father won some money at a traveling craps game, stuffed his winnings in his left sock, and headed for home. He was later found murdered on the corner of Minnesota and Mariposa Streets, on the edge of San Francisco's Potrero Hill and the Dogpatch District with his left shoe and sock missing.[14][15] The robbery and homicide were never solved. Turner was raised Catholic and attended church in Stockton, California.[16] She would later attend the Convent of the Immaculate Conception in San Francisco, hoping to become a nun in her adulthood.[11] In the mid-1930s, Turner's mother developed respiratory problems and was advised by her doctor to move to a drier climate, upon which the two moved to Los Angeles in 1936.[11][15] Turner and her mother lived in poverty, and she was sometimes separated from her mother, living with friends or acquaintances so the family could save money. Her mother reportedly worked 80 hours per week as a beautician to support herself and her daughter.[17] After Turner was discovered, her mother became the overseer of her career.[18] Career[edit] 1937–1939: Discovery and early work[edit] Turner in a 1937 publicity photo, prior to her change to the iconic blonde hair she would wear from 1941 onward[19] Turner's discovery in Hollywood is considered by film historians to be a show-business legend,[b] and has been recounted numerous times with slight variations.[21][22] One version of the story has her discovery occurring at Schwab's Pharmacy, but according to both Turner and a 1995 Los Angeles Times article, this was a reporting error that began circulating after the publication of articles by columnist Sidney Skolsky.[20] According to Turner,[20] as a junior at Hollywood High School, she skipped a typing class and bought a Coke at the Top Hat Malt Shop[23][24] located on the southeast corner of Sunset Boulevardand McCadden Place.[25] While in the shop, Turner was spotted by William R. Wilkerson, publisher of The Hollywood Reporter. Wilkerson was attracted by her beauty and physique, and with the permission of her mother, referred her to the actor/comedian/talent agent Zeppo Marx.[26] In December 1936, Turner was introduced by Marx to film director Mervyn LeRoy, who signed her to a fifty-dollar weekly contract with Warner Bros. on February 22, 1937.[23] At the suggestion of LeRoy, she would take the stage name Lana Turner, a name she would come to legally adopt several years later.[27] Her first picture with Warner Bros. was James Whale's comedy The Great Garrick (1937) in a supporting part.[28] LeRoy then cast Turner in They Won't Forget (1937),[26] a crime drama in which she played a teenage murder victim. Though the part was minor, William Wilkerson wrote in The Hollywood Reporter that Turner's performance was "worthy of more than a passing note."[29] Turner earned the nickname "the Sweater Girl" from her form-fitting attire in a scene in They Won't Forget.[26][30]According to her daughter, this was a nickname Turner detested throughout her entire career.[31] In late 1937, she signed a contract with Metro-Goldwyn-Mayer for $100 a week, and graduated from high school in between filming.[31] The same year, she was loaned to United Artists for a minor role as a maid in The Adventures of Marco Polo.[29] According to LeRoy, she made the switch thanks to him, for he left Warner Bros. to work at MGM and was advised by studio head Jack L. Warner to take her with him, because Warner believed that she would not "amount to anything."[32] Her first starring role for MGM was scheduled to be an adaptation of The Sea-Wolf, co-starring Clark Gable, but the project was eventually shelved.[33] Instead, she was assigned opposite teen idol Mickey Rooney in the Andy Hardy film Love Finds Andy Hardy(1938). This appearance, as a flirtatious girl described as "the kissing bug," convinced Louis B. Mayer that LeRoy's protégée Turner could be the next Jean Harlow, a sex symbol who had died six months before Turner's arrival at MGM.[31] 1940–1945: Establishment as a sex symbol[edit] Turner in a publicity still from Dr. Jekyll and Mr. Hyde (1941), in which she appears in a hallucinogenic montage opposite Ingrid Bergman[34] Mayer helped further Turner's career by giving her the leads in several youth-oriented films in the late 1930s and early 1940s, such as Dramatic School (1938), These Glamour Girls (1939) and Dancing Co-Ed (1939).[35] In early 1940, she was also set to star in a remake of Our Dancing Daughters, but the film was never made.[36] During World War II, Turner became a popular pin-up girl after her appearances in such films such as Ziegfeld Girl (1941), Johnny Eager (1942), and Slightly Dangerous(1943).[37] Following the scrapped The Sea-Wolf project, Turner and Gable were set to star in The Uniform in December 1940.[38] Turner was eventually replaced by Rosalind Russell, and the film was released as They Met in Bombay (1941). The same year, she had a supporting role in Dr. Jekyll and Mr. Hyde (1941), a Freudian-influenced horror film, with Spencer Tracyand Ingrid Bergman.[39] Turner also appeared in four films with Clark Gable between 1941 and 1954, beginning with Honky Tonk (1941). The Turner-Gable films' successes were heightened by gossip-column rumors about a relationship between the two.[40] In January 1942, she began shooting her second picture with Gable, titled Somewhere I'll Find You;[41] however, the production was halted for several weeks after the death of Gable's wife, Carole Lombard, in a plane crash.[42] Meanwhile, the press continued to fuel rumors that Turner and Gable were romantic offscreen, which Turner vehemently denied.[31] Consequently, the publicity generated by this would lead MGM to play up her image as a sex symbol in her following film, a romantic comedy titled Slightly Dangerous (1943).[31] In promotion of Somewhere I'll Find You, Turner embarked on a nationwide war bond tour, during which she returned to her hometown of Wallace, Idaho with her mother, where she was greeted with a large celebration: "We checked into our hotel, and were told that the Mayor had declared a holiday in my honor," she recalled. "A banner stretched across the street read, in large letters, WELCOME HOME, LANA. We'd been in our rooms only a few moments when people who claimed to have known us when we lived in Wallace began knocking on the door."[43] 1946–47: Shift toward dramatic roles[edit] After the war, Turner was cast in a lead part in The Postman Always Rings Twice (1946) with John Garfield, a film noir based on James M. Cain's debut novel of the same name.[44] Turner reportedly did not get along with Garfield on the set; according to one documentary, when she found he was her male lead, she responded: "Couldn't they at least hire someone attractive?" The now-classic film noir marked a turning point in Turner's career as her first femme fatale] role. Reviews of the film, and in particular, Turner's performance, were glowing, with a critic of The New York Times writing it was "the role of her career."[31] Turner commented on the role in 1946: I finally got tired of making movies where all I did was walk across the screen and look pretty. I got a big chance to do some real acting in The Postman Always Rings Twice, and I'm not going to slip back if I can help it. I tried to persuade the studio to give me something different. But every time I went into my argument about how bad a picture was, they'd say, "well, it's making a fortune". That licked me.[45] Turner in The Postman Always Rings Twice, considered by many critics to be one of her career-defining performances[31] The Postman Always Rings Twice became a major box office success, which prompted the studio to take more risks on Turner, casting her outside of the glamorous sex symbol roles she had come to be known for.[45] In August 1946, it was announced Turner was set to replace Katharine Hepburn in the big-budgeted historical drama Green Dolphin Street (1947), a role for which she darkened her hair and lost 15 pounds.[45][46] It was Carey Wilson who insisted on casting Turner based on her performance in The Postman Always Rings Twice.[46] Turner later recalled she was surprised about replacing Hepburn, saying: "I'm about the most un-Hepburnish actress on the lot. But it was just what I wanted to do."[45] It was her first starring role that did not center on her looks. In an interview, Turner said: "I even go running around in the jungles of New Zealand in a dress that's filthy and ragged. I don't wear any make-up and my hair's a mess." Nevertheless, she insisted she would not give up her glamorous image.[45] Later that year, Turner headlined Cass Timberlane, a role for which Jennifer Jones, Vivien Leigh, and Virginia Grey previously were considered.[47] As of early 1946, Turner was set for the role, but schedules with Green Dolphin Street almost prohibited her from taking the role, and by late 1946, she was almost recast.[48] Production of Cass Timberlane was very exhausting for Turner, as it was shot in between retakes of Green Dolphin Street.[49] Nevertheless, she took the female lead in Homecoming(1948) in August 1947, only moments after finishing Cass Timberlane.[50] She was the studio's first choice for the role, but they were reluctant to offer her the part, considering her overbooked schedule.[50] Paired again with Clark Gable in Homecoming, their chemistry projected on the screen was well received by the audience, and they were nicknamed "the team that generates steam."[51] By this period, Turner was at the zenith of her film career, and was not only MGM's most popular star, but also one of the 10 best-paid women in the United States.[31] 1948–1960: Critical successes[edit] Turner with George Cukor on the set of A Life of Her Own (1950) In 1948, Turner appeared in her first Technicolor film, as Lady de Winter in The Three Musketeers, with Gene Kelly, Van Heflin, and June Allyson. In November 1947, she agreed to do the film, thereby giving up an unfinished film project called Bedeviled.[52]However, in January 1948, it was reported that she had withdrawn from the film. Initially, Louis B. Mayer gave her permission for doing so because of her schedule,[53] but she was later that month put on suspension.[54] Eventually, Turner agreed to make the film, but did not start production until March due to having to lose weight. In 1949, Turner was to headline A Life of Her Own (1950). The project was shelved for several months, and Turner insisted in December 1949 that she had nothing to do with it, saying: "Everybody agrees that the script is still a pile of junk. I'm anxious to get started. By the time this one comes out, it will be almost three years since I was last on the screen, in The Three Musketeers. I don't think it's healthy to stay off the screen that long."[55] During the 1950s, Turner starred in a series of films that garnered low box office sales, a situation MGM attempted to remedy by casting her in musicals. The first, Mr. Imperium (1951), was a flop, while The Merry Widow (1952) was more commercially successful. She also gave a widely praised performance in Vincente Minnelli's The Bad and the Beautiful (1952). The same year, Turner appeared in advertisements for Lustre-Creme Shampoo, who extolled her selection by Modern Screen as having the "most beautiful hair in the world."[56] In 1954, she was then cast in The Prodigal (1955), followed by The Sea Chase (1955).[57] After starring in the period drama Diane (1956), MGM opted not to renew Turner's contract.[57] This was a difficult time for Hollywood's major studios because a recent court decision forced them to divest themselves of their movie theaters. In addition, television had caught on in a big way; the public was staying home. Turner was just one of MGM's star roster to be let go. Her career recovered briefly after she appeared in the hugely successful big-screen adaptation of Grace Metalious's best-selling novel Peyton Place (1957), for which she was nominated for an Academy Award for Best Actress.[58] Another few box-office failures followed (Another Time, Another Place, for example) when the 1958 scandal surrounding her daughter's killing of Johnny Stompanato threatened to derail her career completely.[59] Turner promoting Imitation of Lifein New York City, March 26, 1959 In the trail of the related negative publicity, Turner accepted the lead role in Ross Hunter's remake of Imitation of Life (1959) under the direction of Douglas Sirk. Universal Studios capitalized on her new-found notoriety; the result was one of the biggest hits of the year, and the biggest of Turner's career; she owned 50% of the earnings of the picture and during just the first year of the film's release she earned $11 million. According to Hunter, the film made an excess of $50 million in box office receipts.[60] Critics and audiences could not help noticing that the plots of Peyton Place and Imitation of Life each seemed to mirror certain parts of Turner's private life. Specifically, both films depicted the troubled, complicated relationship between a single mother and her teenaged daughter.[61] She made her last film at MGM starring with Bob Hope in Bachelor in Paradise (1961), which received mostly positive critical reception.[62] Turner's projects of this era include By Love Possessed (1961), based on James Gould Cozzens' novel. On July 19, 1961, it became the first in-flight movie to be shown on a regular basis on a scheduled airline flight, by Trans World Airlines (TWA) to its first-class passengers.[63] Other highlights of this period include two Hunter productions (for whom she did Imitation of Life), Portrait in Black (1960), a box office success,[64] co-starring Anthony Quinn and Sandra Dee, and Madame X (1966), which proved to be her last major starring role.[65] 1961–1985: Later roles and television[edit] In 1969, Turner appeared in her only lead starring role on television in Harold Robbins' The Survivors; the series was given a major national marketing campaign, with billboards featuring life-sized images of Turner.[66] Despite ABC's extensive publicity campaign and the presence of other big-name stars, the program fared badly, and it was cancelled halfway into the season after a 15-week run.[66] In the 1970s and 1980s, Turner appeared in several television roles, most notably as a guest star for several episodes on the series Falcon Crest,[67] marking her first television appearance in twelve years.[68] She also appeared as the mysterious Jacqueline Perrault on The Love Boat,[69] but the majority of her final decade was spent out of the public eye. On October 25, 1981, the National Film Society presented Turner with an Artistry in Cinema award.[70] In 1994, she received the Donostia Lifetime Achievement Award at the San Sebastián International Film Festival in Spain.[71] In 1982, Turner released an autobiography entitled Lana: The Lady, The Legend, The Truth. Turner stated that she was on a "downhill slide" for much of the 1970s, drinking heavily, not eating, missing performances, and weighing only 95 pounds.[72] "I was a sipper but I never got high or drunk," Turner said in a 1982 interview. "It was much more insidious. It was starting to affect my liver and my health ... I was very sick."[72]She decided to stop drinking, and began eating all organic food; she would credit herbalism as helping her overcome her alcoholism.[72] Turner claimed she was chaste for the remainder of her life after her final divorce in 1969 and had no desire to marry again.[73] Personal life[edit] Turner with husband Steve Craneand newborn daughter, Cheryl; September 1943 Turner suffered from depression for much of her life.[74] In her autobiography, Turner admitted that she had two abortions and also suffered three stillbirths.[75] She said she was also an alcoholic and attempted suicide in September 1951 by slitting her wrists, following the end of her fourth marriage to Bob Topping.[76][77] Her death was prevented however by her business manager, Benton Cole, who broke down her bathroom door and was able to call emergency medical services, saving Turner's life.[78] In 1980, Turner had what she referred to as a "religious awakening" and became a devout Roman Catholic.[76] Turner had a very close relationship with her only daughter Cheryl (b. 1943).[79] As a teenager, Cheryl came out as a lesbian to her mother and father, Steve Crane; reflecting on it, Cheryl recalled: "I always felt I had the full support of my parents ... I was never made to feel that it was anything strange."[80] Turner was a lifelong Democrat who was involved in the Hollywood Democratic Committee and campaigned for Franklin D. Roosevelt during the 1944 presidential election.[81] Relationships[edit] Turner was well known inside Hollywood circles for dating often, for changing partners often, and for never shying away from the topic of how many lovers she'd had in her lifetime. However, she claimed that sex was not important to her and that she was more of a romantic: All those years that my image on the screen as "sex goddess"—well that makes me laugh. Sex was never important to me. I'm sorry if that disappoints you, but it's true. Romance, yes. Romance was very important. But I never liked being rushed into bed, and I never allowed it. I'd put it off as long as I could and I gave in only when I was in love, or thought I was. It was always the courtship, the cuddling, and the closeness that I cared about, never the act of sex itself—with some exceptions of course. I'm not masquerading as a prude, but I've always been portrayed as a sexy woman, and that's wrong. Sensuous, yes. When I'm involved with someone I care for deeply, I can feel sensual. But that's a private matter.[82] Turner habitually married, marrying eight times to seven different husbands: Bandleader Artie Shaw (1940). Married only four months, Turner was 19 when she and Shaw eloped on their first date. A young Judy Garland, who reported that she had a crush on Artie at that time, was both shocked and heartbroken. The sudden marriage was highly publicized, and there was even talk of MGM releasing her from her contract.[83] She later referred to their stormy and verbally abusive relationship as "my college education". Actor and restaurateur Joseph Stephen "Steve" Crane[84] (1942–1943, 1943–1944). Turner and Crane's first marriage in Las Vegas was annulled after she discovered that Crane's previous divorce had not yet been finalized. After a brief separation (during which Crane attempted suicide), they remarried in order to provide for their newborn daughter Cheryl. However, their brief second marriage barely lasted a year primarily because the two were simply not compatible. This has been variously attributed to Lana's work schedule, to Crane's own ambitions to prove himself as a businessman independent of his prominent wife, and to differences over parenting. Millionaire socialite Henry J. "Bob" Topping Jr. (1948–1952). A brother of New York Yankees owner Dan Topping and a grandson of tin-plate magnate Daniel G. Reid, Topping proposed to Turner at the 21 Club in Los Angeles by dropping a diamond ring into her martini. The ceremony occurred three days after Topping was divorced from his third wife, actress Arline Judge, who had been previously married to his brother Dan. Although worth millions when they married, Topping suffered heavy financial losses due to poor investments and excessive gambling.[85] The couple's marriage resulted in a church trial for the officiant because the marriage took place less than a year after Topping's divorce from Judge. Cheryl Crane writes in her memoir that her mother's wedding to Bob Topping was a beautiful, lavish affair held in the spacious Topping family mansion in Greenwich, Connecticut, with all of the bells and whistles accompanying a traditional wedding. Despite the fact that both the bride and the groom had been married and divorced multiple times previously, Lana wore a traditional white gown, the bridesmaids wore equally beautiful gowns of Lana's choosing, and young Cheryl served as the flower girl. Crane goes on to state that she later saw this as her mother's attempt to finally have a beautiful, traditional wedding while she was still young after three failed marriages (to Artie Shaw and Steve Crane) in which the ceremonies took place before justices of the peace with Lana usually attired in a simple dress suit and heels.[86] Actor Lex Barker (1953–1957), whom she divorced. In her memoir, Cheryl Crane states that Barker molested and raped her, and that after she informed her mother of this, Turner forced him out of the home at gunpoint,[87] and immediately filed for divorce.[88] Rancher Frederick "Fred" May (1960–1962), who was a member of the May department-store family. Married November 27, 1960, Turner and May separated in September 1962, and divorced shortly after.[89] Robert P. Eaton (1965–1969);[90] A movie producer, he went on to write The Body Brokers, a behind-the-scenes look at the Hollywood movie world, featuring a character named Marla Jordan, based on Turner. Nightclub hypnotist Ronald Pellar, also known as Ronald Dante or Dr. Dante (1969–1972). The couple met in 1969 in a Los Angeles disco and married that same year. After about six months of marriage, Pellar disappeared a few days after Turner had written a $35,000 check to him in order to help him in an investment; he used the money for other purposes. In addition, she later accused Dante of stealing $100,000 worth of jewelry from her. Dante denied that he stole from Turner and no charges were ever filed against him.[91] She later famously said, "My goal was to have one husband and seven children, but it turned out to be the other way around."[92] In 1946 after her divorce from Steve Crane, Turner briefly dated Howard Hughes, an affair that lasted for twelve weeks.[93] She was also romantically involved with Tyrone Power for several months, and she considered him to be the love of her life.[94] In her 1982 autobiography, Turner claims to have become pregnant with Power's child in 1948, but she chose to have an abortion.[94][79] While on a goodwill trip to Europe and South Africa the same year, Power fell in love with Linda Christian in Rome. Power and Christian were married on January 27, 1949. The Stompanato killing[edit] Turner's former home in Beverly Hills where Johnny Stompanato was killed in 1958 Turner met Johnny Stompanato during the spring of 1957, shortly after ending her marriage to Barker. After she discovered his ties to the Los Angeles underworld (in particular, his association with gangster Mickey Cohen), she tried to break off the affair out of fear of bad publicity. Stompanato was not easily deterred, however, and over the course of the following year, they carried on a relationship filled with violent arguments, physical abuse, and repeated reconciliations.[95] In the fall of 1957, Stompanato visited Turner in England, where she was filming Another Time, Another Place (1958), co-starring Sean Connery. In her autobiography, Turner said that she arranged for Stompanato's visit because she was lonely and having a difficult time filming. Their reunion was initially happy, but the two soon began fighting. Stompanato became suspicious when Turner would not allow him to visit the set and, during one fight, he choked her, causing her to miss three weeks of filming. Turner later wrote that she and her makeup man, Del Armstrong, called Scotland Yard in order to have Stompanato deported.[96]Stompanato got wind of the plan and showed up on the set with a gun, threatening her and her co-star Sean Connery, whom he warned to keep away from Turner.[97] Connery answered by grabbing the gun out of Stompanato's hand and twisting his wrist, causing him to run off the set sheepishly.[98] Turner and Armstrong later returned with two Scotland Yard detectives to the rented house where she and Stompanato were staying. The detectives advised Stompanato to leave and escorted him out of the house and also to the airport, where he boarded a plane back to the United States.[99][100] Turner arriving at the inquest for Stompanato's murder, April 12, 1958 On the evening of April 4, 1958, after the Oscar telecast which she had attended without him, Stompanato arrived at Turner's rented house at 730 North Bedford Drive in Beverly Hills. The two began arguing heatedly in the bedroom, during which Stompanato threatened to kill Turner, her daughter, and her mother.[95] Fearing that her mother's life was in danger, Turner's fourteen-year-old daughter, Cheryl, grabbed a kitchen knife and ran to Turner's defense.[101] According to testimony provided by Turner at the coroner's inquest, Cheryl, who had been listening to the couple's fight behind the closed door, stabbed Stompanato in the stomach when Turner attempted to usher him out of the bedroom.[102] "[At first] I thought [Cheryl] hit him in the stomach," Turner testified in court.[102] The killing was ultimately deemed a justifiable homicide.[103] Due to Turner's high profile and the fact that the killing involved her teenage daughter, the case quickly became a media sensation, with over one hundred reporters and journalists attending the trial, described by attendees as "near-riotous."[104] Though Turner and her daughter were exonerated of any wrongdoing, public opinion on the event was varied, with numerous publications intimating that Turner's testimony at the inquest was a performance; Life magazine published a photo of Turner testifying in court with stills of her in court room scenes from three films she had starred in.[105] Stompanato's family in Illinois sought a wrongful death suit of $750,000 (equivalent to $6,400,000 in 2017) in damages against both Turner and her ex-husband, Steve Crane.[78] The suit was settled out of court for a reported $20,000 in 1962.[78] Death[edit] A lifelong heavy smoker,[106] Turner was diagnosed with throat cancer in May 1992.[107] At the urging of her daughter, Turner underwent radiation therapy to treat the cancer,[106] and in February 1993, announced that she was in remission.[108] Despite treatment, the cancer returned in July 1994.[109] In September 1994, she made her final public appearance at the San Sebastián International Film Festival in Spain to accept a Lifetime Achievement Award, and was bound to a wheelchair for much of the event.[106] Turner died nine months later at the age of 74 on June 29, 1995, of complications from the cancer at her home in Century City, Los Angeles, California.[110] Her remains were cremated and scattered in Oahu, Hawaii.[111][112] Turner was survived by Cheryl Crane, her only child, and Crane's life partner Joyce LeRoy, whom she said she accepted "as a second daughter."[113] They inherited some of Turner's personal effects and $50,000 in Turner's will (her estate was estimated in court documents to be worth $1.7 million [$3.0 million in 2017 dollars]) with the majority of her estate being left to Carmen Lopez Cruz, her maid and companion for 45 years and her caregiver during her final illness.[114] Crane challenged the will and Lopez claimed that the majority of the estate was consumed by probate costs, legal fees, and medical expenses.[115] For her contribution to the motion-picture industry, Turner has a star on the Hollywood Walk of Fame at 6241 Hollywood Boulevard. On May 24, 1950, Turner left hand and footprints in front of the Grauman's Chinese Theatre.[116] Legacy[edit] A shoe tree owned by Turner in the Salvatore Ferragamo Museum Turner has been cited as one of the most glamorous film stars of all time,[11][58][117][118] and her reputation as the "sweater girl" rendered her a film icon prior to her establishing herself as a serious actress.[119] In 1951, the Academy of Contemporary Arts named her the "most glamorous woman in the history of international art."[120] Over the course of her career, Turner's heightened level of media attention was largely fueled by her publicized personal life; film scholar Richard Dyer cites her as an example of one of Hollywood's earliest stars whose publicized private life perceptibly inflected their careers: Her career is marked by an unusually, even spectacularly, high degree of interpenetration between her publicly available private life and her films. The star phenomenon depends upon collapsing the distinction between the star-as-person and the star-as-performer. This does not usually mean that the incidents of a film's scenario are taken to be actual incidents in the star's life but rather that they 'reveal' or express the personality of the type-of-person of the star. In the case of Turner, however, not only do her vehicles furnish characters and situations in accord with her off-screen image, but frequently incidents in them echo incidents in her life so that by the end of her career films like Peyton Place, Imitation of Life, Madame X and Love Has Many Faces seem in parts like mere illustrations of her life.[121] Film historian Jeanine Basinger echoes similar sentiments on Turner's career in her book The Star Machine (2008), noting that Turner "accepted limited roles and became a true sex symbol—an actress who played roles for which the meaning of the character came from a source other than the script, her own private life. She was cast only in roles that were symbolic of what the public knew—or thought they knew—of her life from headlines she made as a person, not as a movie character ... Her person became her persona."[122] Contemporarily, she has also been frequently associated with film noir and the femme fatale archetype among scholars for her role in The Postman Always Rings Twice.[123][124] Turner has been depicted and referenced in numerous works across literature, film, and music. In literature, she is the subject of the poem "Lana Turner has collapsed" by the poet Frank O'Hara,[125] and she and Stompanato appear as minor characters in James Ellroy's novel L.A. Confidential (1990).[126]Portrayals of Turner have also appeared in film; actress Brenda Bakke portrayed Turner in a scene in L.A. Confidential (1995). Woody Allen wrote and directed September that deals with a troubled relationship between mother and daughter haunted by a Stompanato-like scenario.[127] In popular music, Turner appears mentioned on the rap section of Madonna's "Vogue" next to stars from the Golden Age era of Hollywood such as Rita Hayworth and Marilyn Monroe.[128] Turner is mentioned in Nina Simone's "My Baby Just Cares for Me".[129] American singer-songwriter Elizabeth Grant, better known as Lana Del Rey, chose Turner's name for the first part of her stage name.[130] Turner, along with Betty Grable and Dorothy Lamour, as some of the more famous pin-up girls during the war era, are also mentioned in the song made famous by Frank Sinatra 'Nancy (with the Laughing Face)'. Filmography[edit] Film[edit] Year Title Role Notes Ref. 1937 They Won't Forget Mary Clay [131] 1937 Topper Nightclub Patron Uncredited [28] 1937 The Great Garrick Mademoiselle Auber [28] 1938 The Adventures of Marco Polo Nazama's Maid [28] 1938 Love Finds Andy Hardy Cynthia Potter [132] 1938 The Chaser Miss Rutherford Scenes deleted [28] 1938 Four's a Crowd Passerby Uncredited [28] 1938 Rich Man, Poor Girl Helen Thayer [28] 1938 Dramatic School Mado [28] 1939 Calling Dr. Kildare Rosalie Jewett [132] 1939 These Glamour Girls Jane Thomas [133] 1939 Dancing Co-Ed Patty Marlow [133] 1940 Two Girls on Broadway Patricia 'Pat' Mahoney [134] 1940 We Who Are Young Marjorie White Brooks [132] 1941 Ziegfeld Girl Sheila Regan [135] 1941 Dr. Jekyll and Mr. Hyde Bea Emery [135] 1941 Honky Tonk Elizabeth Cotton [135] 1942 Johnny Eager Lisbeth Bard [135] 1942 Somewhere I'll Find You Paula Lane [135] 1943 The Youngest Profession Herself (guest star) Cameo role [135] 1943 Slightly Dangerous Peggy Evans/Carol Burden [135] 1943 Du Barry Was a Lady Cameo role Uncredited guest star [135] 1944 Marriage Is a Private Affair Theo Scofield West [135] 1945 Keep Your Powder Dry Valerie 'Val' Parks [135] 1945 Week-End at the Waldorf Bunny Smith [135] 1946 The Postman Always Rings Twice Cora Smith [131] 1947 Green Dolphin Street Marianne Patourel [135] 1947 Cass Timberlane Virginia Marshland [135] 1948 Homecoming Lt. Jane 'Snapshot' McCall [135] 1948 The Three Musketeers Milady de Winter [136] 1950 A Life of Her Own Lily Brannel James [137] 1951 Mr. Imperium Fredda Barlo [136] 1952 The Merry Widow Crystal Radek [136] 1952 The Bad and the Beautiful Georgia Lorrison [136] 1953 Latin Lovers Nora Taylor [136] 1954 Flame and the Flesh Madeline [136] 1954 Betrayed Carla Van Oven [136] 1955 The Prodigal Samarra [131] 1955 The Sea Chase Elsa Keller [136] 1955 The Rains of Ranchipur Lady Edwina Esketh [57] 1956 Diane Diane de Poitiers [136] 1957 Peyton Place Constance MacKenzie Nominated—Academy Award for Best Actress [131] 1958 The Lady Takes a Flyer Maggie Colby [136] 1958 Another Time, Another Place Sara Scott [97] 1959 Imitation of Life Lora Meredith [64] 1960 Portrait in Black Sheila Cabot [64] 1961 By Love Possessed Marjorie Penrose [62] 1961 Bachelor in Paradise Rosemary Howard [62] 1962 Who's Got the Action? Melanie Flood [136] 1965 Love Has Many Faces Kit Jordan [136] 1966 Madame X Holly Parker Won—Golden Plate [138] 1969 The Big Cube Adriana Roman [139] 1974 Persecution Carrie Masters Won—Medalla Sitges en Plata de Ley [136] 1976 Bittersweet Love Claire [136] 1980 Witches' Brew Vivian Cross [140] Television[edit] Year Title Role Notes Ref. 1969–1970 Harold Robbins' The Survivors Tracy Carlyle Hastings 15 episodes [141] 1971 The Last of the Powerseekers Tracy Carlyle Hastings Television film [142] 1982–1983 Falcon Crest Jacqueline Perrault 6 episodes [68] 1985 The Love Boat Elizabeth Raley 2 episodes [69] Radio appearances[edit] Year Program Episode Ref. 1941 Philip Morris Playhouse The Devil and Miss Jones [143] 1949 Lux Radio Theatre Green Dolphin Street [144] EBAY4276

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