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Where those associated with Western films from around the world are laid to rest.

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  • 05/16/18--09:56: RIP Janine Reynaud

  • Word has come from Robert Monell that French model and actress Janine Reynaud passed away recently in 2018 date unknown. I did some research and found that she passed away on January 30, 2018 in Oradour-Saint-Genest, Nouvelle-Aquitaine, Haute-Vienne, France.

    Reynaud began her career as a fashion model for designer Jean Patou but became bored of the industry. She wanted to become and actress and in the mid-1960s, when she was almost 35 years-old, Janine first appeared on the big screen. She appeared in films in France, Italy and Germany, most often in B-movies and sex exploitation films. She starred in films by Jess Franco "Succubus." and Max Pécas “Je suis une nymphomane”. In the 1970s, she then appeared in films with her filmmaker husband Michel Lemoine.

    Reynaud’s last film was “Tire pas sur mon collant” in 1978. Lemoine and she divorced and she married Herbert Hamilton from Texas and lived in Sugar Land, Texas a suburb of Houston. Apparently Hamilton died or they divorced and Janine returned to France where she lived and died in Oradour-Saint-Genest.

    REYNAUD, Janine (Janine Lucienne Reynaud Godard)
    Born: 8/13/1930 Paris, Île-de-France, France
    Died: 1/30/2018, Oradour-Saint-Genest, Nouvelle-Aquitaine, Haute-Vienne, France

    Janine Reynaud’s western – actress:
    Blindman – 1971(prostitute)

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  • 05/16/18--19:06: RIP Joseph Campanella

  • Veteran Character Actor Joseph Campanella Dies at 93

    By Kirsten Chuba
    May 16, 2018

    Joseph Campanella, a character actor who appeared in more than 200 TV and film roles over his 50-year career, died at his Sherman Oaks, Calif., home on Wednesday, his daughter-in-law told Variety. He was 93.

    Campanella appeared across five seasons of late ’60s and early ’70s crime drama “Mannix,” for which he earned a supporting actor Emmy nomination in 1968, and six seasons of ’70s sitcom “One Day at a Time.” He had a number of other co-starring roles on the small screen, including ’60s hospital drama “The Doctors and the Nurses,” the ’70s medical series “Marcus Welby, M.D.,” and ’80s primetime soap story “The Colbys.” In more recent years, the actor held a recurring role on daytime soap opera “The Bold and the Beautiful” from 1996 to 2005 and worked on “The Practice” and “That’s Life.”

    Along with his on-screen roles, Campanella also built a career as a voice actor, voicing characters in ’90s animated shows “Spider-Man” and “Road Rovers,” along with narrating the “Discover” science series on Disney Channel. He appeared in three Broadway plays, with “The Captains and the Kings” in 1962, “A Gift of Time” in 1962, and “Hot Spot” in 1963. He was nominated for a Tony for his performance in “A Gift of Time.”

    Campanella is the younger brother of fellow actor Frank Campanella, who died in 2007. He was born in New York City and attended Columbia University before moving to Hollywood. He is survived by Jill Campanella, his wife of 53 years, as well as his seven sons and eight grandchildren.

    CAMPANELLA, Joseph (Joseph Anthony Campanella)
    Born: 11/21/1924, New York City, New York, U.S.A.
    Died: 5/15/2018, Sherman Oaks, California, U.S.A.

    Joseph Campanella’s westerns – actor, narrator:
    The Virginian (TV) – 1963, 1964, 1968 (Pedro Lopez, Corbett, Walker)
    The Road West (TV) – 1966 (Tom Burrus)
    Shane (TV) – 1966 (Barney Lucas)
    The Big Valley (TV) – 1966, 1967 (Francisco De Navarre, Martinson)
    The Wild Wild West (TV) – 1967 (Talamantes)
    Gunsmoke (TV) – 1968, 1972 (Amos McKee, Jack Naorcross)
    Lancer (TV) – 1969 (Douglas Blessing)
    Alias Smith and Jones (TV) – 1971 (Jake Carlson)
    Barbary Coast (TV) – 1975 (Austin Benedict)
    Mission to Glory: A True Story - 1977
    Guns of Paradise (TV) – 1990 (The Horseman)
    Walker, Texas Ranger (TV) – 1996 (Victor DeMarco)
    Grizzly Adams and the Legend of Dark Mountain – 1999 (Professor Hunnicut)
    The Legend of God’s Gun – 2007 (narrator)

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  • 05/17/18--08:50: RIP Greg Blair

  • Gregory Blair
    August 24, 1960 - May 5, 2018

    Los Angeles Times
    May 8, 2018

    Gregory Blair of Sherman Oaks, CA, was a loving father to Nathan and Grant and brother to Colleen Hamburger, Colin Blair and Deirdre Blair. A graduate of Claremont McKenna College, he was an award-winning Production Designer known for his work on movies including "The Texas Chainsaw Massacre," and on countless commercials. Greg loved photography, skiing, hiking, music, and spending time with his sons. This requiem honors a man who was not only beloved by family, colleagues and friends, but who was also an expert Scrabble player that would appreciate the use of a word containing a "q." A memorial service will be held on May 9th, 6:30 p.m, at Church of the Chimes, 14115 Magnolia Blvd., Sherman Oaks, CA 91423.

    BLAIR, Greg (Gregory Blair)
    Born: 8/24/1960, U.S.A.
    Died: 5/5/2018, Sherman Oaks, California, U.S.A.

    Greg Blair’s western – production designer:
    Pathfinder - 2007

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  • 05/17/18--08:51: RIP José Lavat

  • Beloved ‘Dragon Ball Z’ Narrator Jose Lavat Has Passed Away

    Comic Book
    By Megan Peters

    Today, the Dragon Ball fandom is coming together to mourn the loss of one of its own. According to reports, a beloved narrator from one of Dragon Ball Z’s most iconic dubs has passed away.

    Not long ago, Toei Animation confirmed José Lavat’s passing with a touching tribute on social media. Over on Twitter, the company honored the vetted actor by thanking him for the work he did on making Dragon Ball Z the global phenomenon it has become.

    “Rest in peace José Lavat, an amazing dubbing actor who lended his voice talent to many famous characters for Hispanic audiences including the narrator in Dragon Ball Z. Thank you #PepeLavat for everything,” the message reads.

    Lavat’s death is a difficult one for fans to process, and audiences who grew up with Dragon Ball Z’s Latin America Spanish dub will remember the actor fondly. Ever since the anime was brought abroad, Latin America has welcomed Son Goku warmly, and Dragon Ball Z developed a massive following in countries such as Mexico. It was Lavat who helped bring that show to life for Spanish-speaking audiences, and fans are paying tribute to the actor on social media to share their thanks.

    While Lavat may be best known by anime fans for his work on Dragon Ball Z, the actor did voice work on plenty of other titles. Not only did Lavat do the Spanish dub of Soichiro Yagami in Death Note, but he also did dubs for Tarzan, Star Wars: The Clone Wars, Indiana Jones, Lord of the Rings, and Street Fighter.

    What is your favorite narration from Lavat in Dragon Ball Z? Let me know in the comments or find me on Twitter @MeganPetersCB to talk all things comics, k-pop, and anime.

    LAVAT, José (José Francisco Lavat Pacheco)
    Born: 9/28/1948, Mexico City, Federal District, Mexico
    Died: 5/15/2018, Mexico

    José Lavat’s Westerns – voice actor:
    Rio Grande – 1950 [Mexican voice of Ben Johnson]
    Bend of the River – 1952 [Mexican voice of James Stewart]
    Shane – 1953 [Mexican voice of Alan Ladd]
    Bonanza (TV) – 1959-1972 [Mexican voice of Lorne Greene]
    Hombre – 1967 [Mexican voice of Paul Newman]
    High Chaparral (TV) 1967-1971 [Mexican voice of Myron Healey, Jonathan Goldsmith, Wes Bishop, Monte Markham, Pat Renella, Richard Gates]
    Hang En’ High – 1968 [Mexican voice of Clint Eastwood]
    Silverado – 1968 [Mexican voice of Kevin Costner]
    The Wild Bunch – 1969 [Mexican voice of William Holden]
    Wyatt Earp – 1994 [Mexican voice of Kevin Costner]

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  • 05/18/18--20:56: RIP Jim Nickerson

  • Deadline Hollywood
    By David Robb
    May 18, 2018

    Jimmy Nickerson, a veteran Hollywood stuntman who performed and/or coordinated stunts on more than 70 films and TV shows spanning 30-plus years, has died. He was 68. He died May 4, but no other details were available.

    A 1985 inductee into the Hollywood Stuntmen’s Hall of Fame, Nickerson’s long list of stunt credits includes Rocky, Rocky II, Raging Bull, Lethal Weapon, Gladiator, Waterworld, Fight Club, True Lies, Last Action Hero, Batman & Robin, Con Air, Volcano, Crimson Tide, Dante’s Peak, Star Trek: First Contact, Fantasy Island, M*A*S*H and Dynasty.

    Born on September 18, 1949, in Pittsburgh, Nickerson was 7 when his family moved to San Fernando, CA. There he began riding horses and was on the pro rodeo circuit by 15. He also found success as amateur lightweight boxer, racking up an 18-1 record by age 18. Those skills were serve him well as he began his stunt career on such TV Westerns as Lancer, Gunsmoke, Bonanza and The Big Valley.

    After working on fight scenes for the first two Rocky films and Raging Bull, Nickerson was Hollywood’s go-to boxing coordinator. He later was the subject of a 1991 Sports Illustrated profile titled “Tough Guys Do Dance,” which focused on his work choreographing fight sequences. But stunt work was his calling, and he returned to it.

    Nickerson was one of the last surviving key players in one of the worst car crashes in movie history. It happened in 1980 on the set of The Cannonball Run, when he was the driver of an Aston Martin that crashed head-on into another car in the desert outside Las Vegas. The stunt called for him to weave through a line of speeding oncoming cars, but the Aston Martin had bald tires, defective steering and a faulty clutch. When he tried to get it running on the day of the stunt, another car had to push it to get it started, and even then he couldn’t get it going faster than 8 mph.

    Director Hal Needham had a mechanic work on the car for a while, and stunt coordinator Bobby Bass then took it out for a test run. He said it was fine, but it wasn’t, and it didn’t even have seat belts. It was a disaster waiting to happen.

    When it came time to film the stunt, Nickerson still didn’t think it was ready. He wanted more repairs but was told that the parts from Los Angeles had not arrived and that he’d have to “make do.”

    Nickerson’s passengers that day were Cliff Wenger, a special effects man who would be operating a smoke machine while hiding on the floor in the backseat, and Heidi von Beltz, Bass’ 24-year-old girlfriend, who was doubling for Farrah Fawcett. As the Aston Martin sped toward the oncoming line of cars, the last thing she remembered hearing was someone yelling to Nickerson on the walkie-talkie: “Faster! Faster!”

    The Aston Martin swerved past the first oncoming car but crashed head-on into the second, slamming von Beltz into the windshield and breaking her neck. She survived, paralyzed from the next down, and would later win a $4.5 million wrongful injury judgment. Nickerson suffered a serious head injury, a shattered hip and compound fractures of the left arm.

    Wenger was thrown from the car but suffered no serious injuries. James Halty, the driver of the van that hit them, was wearing a seatbelt and harness and suffered a few cracked ribs. Of all those directly involved in the crash that day, he was the last survivor. Wenger died in January at age 91. Von Beltz died in 2015, Bass committed suicide in 2001, and Needham died in 2013.

    In the wake of the accident, the industry adopted new safety guidelines that made seat belts mandatory on all stunt cars.

    Nickerson, who also directed three features in the 2000s including boxing pic From Mexico with Love, is survived by his wife of 24 years, Deborah; his daughters Kimberly Reddick and Natalie Nickerson; and one grandson.

    NICKERSON, Jim (James Nickerson)
    Born: 9/18/1949, Pittsburgh, Pennsylvania, U.S.A.
    Died: 5/4/2018

    Jimmy Nickerson’s westerns – actor, stuntman:
    Lancer (TV) – 1970 (Dunn)
    Alias Smith and Jones (TV) – 1971 [stunts]
    Bite the Bullet – 1875 [stunts]
    The Long Riders – 1980 [stunts]
    Guns of Paradise (TV) 1991 (wagon driver)

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  • 05/20/18--11:48: RIP Patricia Morison

  • Patricia Morison, Star of the Original ‘Kiss Me, Kate,’ Dies at 103

    The Hollywood Reporter
    By Mike Barnes
    May 20, 2018

    Patricia Morison, the glamorous star who originated the role of the shrewish actress diva in the delightful 1948 Cole Porter musical Kiss Me, Kate, has died. She was 103.

    Morison, who also appeared on stage opposite Yul Brynner in The King and I in such films as The Song of Bernadette (1943), died Sunday at her home in Los Angeles of natural causes.

    With a mane of exuberant, dark hair that reached her hips, Morison often was cast as a villainess or “the other woman” on the big screen. She notably played Sherlock Holmes’ smiling adversary Mrs. Hilda Courtney, who is desperate to collect three matching musical boxes, in Dressed to Kill (1946), the 14th and last installment in the Basil Rathbone-Nigel Bruce series.

    With Morison as its centerpiece, the first staging of Kiss Me, Kate — a musical-within-a-musical centered on a production of William Shakespeare’s The Taming of the Shrew — ran for 2 1/2 years and 1,077 performances on Broadway. It reeled in six Tony Awards, including the very first one for best musical.

    A real knockout, Morison portrayed movie star Lilli Vanessi, who plays the character of Katherine in the show; Kate’s ex-husband, Fred Graham (Alfred Drake), stars opposite her and also produces. It was Morison who introduced such memorable songs as “So in Love” and “I Hate Men” and, in a duet with Drake, “Wunderbar.”

    (The two would reprise their roles for a 1958 Hallmark Hall of Fame TV version of the musical.)

    “When I first heard ‘So In Love,’ when Cole Porter played it for me, it just knocked me out. It was a beautiful gift,” she told Los Angeles magazine in March 2015. As for “I Hate Men” she said, “I could do a lot of things in character that I would never do in real life. I would never throw plates around and bang tankards.”

    Kathryn Grayson starred as Lilli/Kate in the 1953 film version for MGM.

    You won’t see Morison in the 1947 film noir classic Kiss of Death, even though she did some of her best work as the wife of Nick Biano (Victor Mature), a crook who refused to rat out his partners and is sent up the river. A henchman hired to look after her and her baby rapes her, and she’s so ashamed, she puts her head in an oven and commits suicide.

    “I got a wire from [Fox studio chief] Darryl Zanuck: ‘Pat, this is a breakout performance, you were so wonderful. I would not be surprised if you got a supporting actress Oscar nomination for this,’ ” she told THR’s Scott Feinberg in a 2013 interview.

    Audiences, however, never witnessed her performance. “The whole thing got cut out,” Morison said. “The censor said you could not show a rape, and you could not show a suicide.”

    Morison was born in 1915 in New York. Her father was a playwright and actor who showed up as a servant in Mervyn LeRoy’s Little Women (1949), and her mother served in British intelligence operations during World War I.

    She graduated from Washington Irving High School in Manhattan, took acting classes at the Neighborhood Playhouse (she met Edmond O’Brien there), studied dance with Martha Graham and made her Broadway debut at age 18 in the short-lived 1933 comedy Growing Pains.

    Later, she served as Helen Hayes’ understudy in the drama Victoria Regina, also starring Vincent Price, but never made it to the stage. (When Hayes couldn’t make it, the show, in this case, did not go on.)

    In 1938, Morison made an impression when she starred in the operetta The Two Bouquets opposite Leo G. Carroll and future Kiss Me, Kate co-star Drake. That got the attention of Paramount, which signed her to a contract and brought her to Hollywood, nicknaming her “The Fire and Ice Girl.”

    She made her film debut in Persons in Hiding (1939), playing a bad woman who pushes her man (J. Carrol Naish) to commit murder.

    In addition to appearing as Empress Eugenie opposite Jennifer Jones in The Song of Bernadette, Morison appeared with Ray Milland in the comedy Are Husbands Necessary? (1942), with John Garfield in the thriller The Fallen Sparrow (1943) and with Spencer Tracy and Katharine Hepburn in the romantic comedy Without Love (1945).

    Her other films included Night in New Orleans (1942), Lady on a Train (1945), Song of the Thin Man (1947), Queen of the Amazons (1947), Johnny Weissmuller’s Tarzan and the Huntress (1947) and Song Without End (1960) — as writer George Sand in the Franz Liszt biopic — and Won Ton Ton: The Dog Who Saved Hollywood (1976).

    When Tony-winning actress Gertrude Lawrence died of liver cancer just months into the original Broadway production of Rodgers & Hammerstein’s The King and I, Morison stepped in to play widowed British schoolteacher Anna Leonowens opposite Brynner. She also toured with him in a road production, all the while refusing his advances (“he was a naughty boy”).

    On television, she played a psychiatrist in 1952’s The Cases of Eddie Drake and appeared on a 1989 episode of Cheers.

    Morison, who turned 100 on March 19, 2015, celebrated the occasion at a private party at the Pantages Theatre and an event at the Pasadena Playhouse.

    MORISON, Patricia (Eileen Patricia Augusta Fraser Morison)
    Born: 3/19/1915, New York City, New York, U.S.A.
    Died: 5/20/2018, Los Angeles, California, U.S.A.

    Patricia Morison’s westerns – actress:
    Rangers of Fortune – 1940 (Sharon McCloud)
    Romance on the Rio Grande – 1941 (Rosita)
    The Roundup – 1941 (Janet Allen/Payson)
    The Return of Wildfire – 1948 (Pat Marlowe)
    Have Gun – Will Travel (TV) – 1958 (Victoria Vestris / Desdemona)

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  • 05/20/18--15:26: RIP Bill Gold

  • The Hollywood Reporter
    By Mike Barnes
    May 20, 2018

    Bill Gold, who revolutionized the art of the movie poster over a seven-decade career that began with Casablanca and included A Clockwork Orange, The Exorcist and dozens of Clint Eastwood films, has died. He was 97.

    Gold died at his home in Old Greenwich, Conn. on Sunday, according to family spokeswomen Christine Gillow.

    The Brooklyn native began at Warner Bros. in the early 1940s and had a hand in more than 2,000 posters during his iconic career, working on films for everyone from Alfred Hitchcock (1954's Dial M for Murder), Elia Kazan (1955's East of Eden) and Federico Fellini (1963's 8 1/2) to Sam Peckinpah (1969's The Wild Bunch), Robert Altman (1971's McCabe & Mrs. Miller) and Martin Scorsese (1990's GoodFellas).

    Gold, who received a Lifetime Achievement Award from The Hollywood Reporter during its 1994 Key Art Awards ceremony, had a way of setting the mood for a movie using a less-is-more philosophy.

    "We try not to tell the whole story," he told CBS News in March. "We try to tell a minimum amount of a story, because anything more than that is confusing."

    Gold's fruitful relationship with Eastwood began with Dirty Harry (1971), and he gave the actor a gun or a gritty countenance on posters for such films The Enforcer (1976), The Outlaw Josey Wales (1976), The Gauntlet (1977), Pale Rider (1985) and Unforgiven (1992).

    Gold retired after working on the Eastwood-directed Mystic River (2003) but re-emerged to do the poster for the filmmaker's J. Edgar (2011).

    "With Bill, I knew he would bring great ideas, and the poster he created would be one less thing we had to think about," Eastwood writes in the introduction to the 2010 book Bill Gold PosterWorks. "He respected the film, he respected the story, and he always respected what we were trying to accomplish.

    "Four of the films he worked on won best picture Oscars, including Unforgiven. The first image you have of many of your favorite films is probably a Bill Gold creation."

    Movie critic Leonard Maltin once noted that each of Gold's posters is "as individual as the movies they are promoting. I can't discern a Bill Gold style, which is a compliment, because rather than trying to shoehorn a disparate array of movies into one way of thinking visually, he adapted himself to such a wide variety."

    Gold "started drawing at age 8 and never stopped," he said in a 2016 interview. After graduating from Pratt Institute in New York City, he approached the art director of the poster department at Warner Bros.' offices in New York.

    "He sent me away on a trial to design posters for four earlier films: Escape Me Never and [The Adventures of] Robin Hood with Errol Flynn, The Man I Love with Ida Lupino and Bette Davis' Winter Meeting," he recalled.

    Gold passed the test and was hired at age 21, and his first assignment was Casablanca (1942).

    As he told CBS News, Gold laid out the poster for Casablanca and placed a gun in Humphrey Bogart's hand at the last minute: "Somebody suggested, 'This is Bogart. Let's put a gun in his hand. That's the way he acts, the way he exaggerates his action. We don't want just a head of him. It's too boring!'"

    The gun was taken from another Bogie film, High Sierra (1941). Gold also was assigned work on Warners' Yankee Doodle Dandy (1942) around this time.

    After enlisting and serving three years during World War II, when he made training films for the U.S. Army Air Force, Gold returned to Warner Bros. and in the late 1950s moved west to work on the studios' Burbank lot. He started his own company in the early 1960s back in New York.

    Gold's poster for William Friedkin'sThe Exorcist (1973) — showing the priest played by Max von Sydow under a shaft of light outside the Georgetown home of the possessed young girl (Linda Blair) — was created after he was told not to "show anything that had any hint of religious connotation."

    Gold also worked on posters for The Searchers (1956), Cool Hand Luke (1967), Funny Girl (1968), My Fair Lady (1968), Bullitt (1968), Woodstock (1970), Klute (1971), Deliverance (1972), The Sting (1973), Blazing Saddles (1974), Dog Day Afternoon (1975), On Golden Pond (1981), For Your Eyes Only (1981) and Thelonious Monk: Straight No Chaser (1988).

    In 2011, producer Sid Ganis, who headed advertising at Warner Bros. during the 1970s, told THR that Gold was "the maestro. He was the one directing his art directors and directing his copy writers on what to do, which was a great thing. He was also the one who communicated with the studio. He was the guy in charge of the symphony."

    Survivors include his wife, Susan, son Bob, daughter in-law Joanne, daughter Marcy, grandson Spencer, granddaughter Dylann and her fiancé Justin, great nephew Jaaron and "man's best friend" Willoughby.

    In lieu of flowers, donations can be made to Fisher Center for Alzheimer’s Research Foundation at

    GOLD, Bill (William Gold)
    Born: 1/3/1921, Brooklyn, New York, U.S.A.
    Died: 5/20/2018, Old Greenwich, Connecticut, U.S.A.

    Bill Gold’s westerns – movie poster artist, designer:
    Giant – 1956
    The Lone Ranger – 1956
    The Searchers – 1956
    Soldier Blue – 1970
    The Wild Bunch - 1969
    There Was a Crooked Man – 1970
    McCabe and Mrs. Miller – 1971
    Jeremiah Johnson – 1972
    Joe Kidd – 1972
    The Life and Times of Judge Roy Bean – 1972
    High Plains Drifter – 1973
    Oklahoma Cruse – 1973
    Blazing Saddles - 1974
    Pat Garrett and Billy the Kid – 1974
    Zandy’s Bride – 1974
    Rooster Cogburn – 1975
    The Duchess and the Dirtwater Fox - 1976
    The Outlaw Josey Wales – 1976
    Bronco Billy – 1980
    Heaven’s Gate – 1980
    The Long Riders – 1980
    Pale Rider - 1985
    Unforgiven - 1992

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  • 05/22/18--12:20: RIP Clint Walker

  • Clint Walker, who starred as TV cowboy ‘Cheyenne,’ dead at 90

    New York Daily News
    By Rachel DeSantis
    May 22, 2018

    Clint Walker, who starred as a gentle giant cowboy on the ABC Western "Cheyenne," died Monday, TMZ reports. He was 90.

    Walker was reportedly surrounded by his wife and daughter at the time of his death, and they believe he succumbed to a heart-related issue.

    The 6'6" Hollywood star was born Norman Walker in Illinois in 1927, and launched his acting career after a brief stint in the Merchant Marines, according to his website.

    His big break came in 1956 after famed director Cecil B. DeMille personally cast Walker in his film "The Ten Commandments," which opened the door for roles in films like "Requiem to Massacre,""Send Me No Flowers" with Rock Hudson and Doris Day, and a starring role in the 1965 war drama "None But the Brave," Frank Sinatra's lone directing credit.

    Walker's signature role, though, was Cheyenne Bodie, the nomadic post-Civil War cowboy he played for more than 100 episodes over seven seasons.

    "Cheyenne" ran from 1955 to 1962, and earned one Emmy nomination in 1957.

    Post-cowboy, Walker appeared in TV shows like "Kodiak,""The Love Boat" and Lucille Ball's "The Lucy Show." His final role was a voice part in the 1998 film "Small Soldiers."

    Walker, who was married three times and had one daughter, famously survived a freak skiing accident in 1971, in which he was declared dead after a crash led to a ski pole piercing his heart.

    WALKER, Clint (Norman Eugene Walker)
    Born: 5/30/1927, Hartford, Illinois, U.S.A.
    Died: 5/22/2018, Grass Valley, California, U.S.A.

    Clint Walker’s westerns – actor:
    Cheyenne (TV) – 1955-1962 (Cheyenne Bodie)
    The Travellers – 1957 (Cheyenne Bodie)
    Fort Dobbs – 1958 (Gar Davis)
    Yellowstone Kelly – 1959 (Luther ‘Yellowstone’ Kelly)
    Requiem for a Massacre – 1960 (Custer)
    Maverick (TV) – 1960 (Cheyenne Bodie)
    Gold of the Seven Saints – 1961 (Jim Rainbolt)
    The Great Bank Robbery – 1969 (Ranger Ben Quick)
    More Dead Than Alive – 1969 (Cain)
    The Night of the Grizzly – 1969 (Jim Cole)
    Sam Whiskey – 1969 (O.W. Bandy)
    Yuma (TV) – 1971 (Marshal Dave Harmon)
    Pancho Villa – 1972 (Scotty)
    The Bounty Man (TV) – 1972 (Kincaid)
    Hardcase (TV) – 1972 (Jack Rutherford)
    Baker’s Hawk – 1976 (Dan Baker)
    The White Buffalo – 1977 (Whistling Jack Kileen)
    Centennial (TV) – 1978 (Joe Bean)
    When the West Was Fun: A Western Reunion (TV) – 1979 (Cheyenne)
    The All American Cowboy (TV) - 1985
    The Gambler Returns: The Luck of the Draw (TV) – 1991 (Cheyenne)
    The Lonely Gunfighter: The Legacy of Cheyenne – 2006

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  • 05/23/18--05:46: RIP Vincent McEveety

  • Los Angeles Times
    May 23, 2018

    August 10, 1929 - May 19, 2018 Vincent M. McEveety of Los Angeles, California has passed away at the age of 88 after a fulfilling life. Born at St. Vincent Hospital and raised in Hollywood, California, Vincent was the youngest of three brothers. He graduated from Loyola Marymount University, then entered the seminary for two years. Choosing another path, Vincent opted for the lay life. His wife Mary Ann and they knew each other from childhood and upon his return from consideration of priesthood, they crossed paths again and it was kismet. Sixty plus years of marriage, Mary Ann and Vincent were devoted to each other, producing four children, Vince Jr., Michael, Mary Pat and Lizzie who blessed them with eight grandchildren, Shaine Leaver, Ronnie and Emily Petersen, Kiley and Ella Horner and Tanner, McKenna and Tyson McEveety. With a tireless work ethic, Vincent followed his father and brothers into the film business where he spent the better part of nearly 40 years directing for television and motion pictures. The patriarch of the family, Vincent enjoyed time with his extended family, talking sports, politics, religion and the human condition. His warm smile giving spirit greeted everyone he encountered, and he will be missed and remembered. The funeral will be held at Saint Cyril's of Jerusalem in Encino, California on May 26 at 10 a.m..

    McEVEETY, Vincent (Vincent Michael McEveety)
    Born: 8/10/1929, Los Angeles, California, U.S.A.
    Died: 5/19/2018, Los Angeles, California, U.S.A.

    Vincent McEveety’s westerns – director, assistant director:
    Westward Ho, the Wagons! – 1956 [assistant director]
    Zorro (TV) – 1957-1960 [assistant director]
    The Sign of Zorro – 1958 [assistant director]
    The Texan (TV) – 1958-1960 [assistant director]
    U.S. Marshal (TV) – 1958-1959 [assistant director]
    The Rebel (TV) – 1960 [assistant director]
    Bonanza (TV) – 1964 [director]
    Rawhide (TV) – 1964 [director]
    Branded (TV) – 1965 [director]
    Gunsmoke (TV) – 1965-1975 [director]
    Blade Rider, Revenge of the Indian  Nations – 1966 [director]
    The Road West (TV) – 1966 [director]
    Cimarron Strip (TV) – 1967-1968 [director]
    The Legend of Judd Starr (TV) – 1967 [director]
    Firecreek – 1968 [director]
    This Savage Land (TV) – 1969 [director]
    Cutter’s Trail (TV) – 1970 [director]
    Menace on the Mountan – 1970 [director]
    The Castaway Cowboy – 1974 [director]
    The Last Day (TV) – 1975 [director]
    Treasure of Matacumbe – 1976 [director]
    How the West Was Won (TV) – 1977-1979 [assistant director]
    The Busters (TV) – 1978 [director]
    The Apple Dumpling Gang Rides Again – 1979 [director]
    Buffalo Soldiers (TV) – 1979 [director]
    Gunsmoke: Return to Dodge (TV) – 1987 [director]

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  • 05/24/18--10:12: RIP Hudson Lee Long

  • Midland Reporter-Telegram
    May 24, 2018

    Hudson Lee Long finished his course on this side of Heaven on January 24, 2018. He was born in Llano, Texas on April 4, 1933. He was many things: husband, father, grandfather, friend, Sunday school teacher, civic volunteer, historian, cowboy poet, actor, postman, rancher, lover of puzzles and games, dedicated sports fan, runner, rafter, and sailor. Most importantly, he loved his family, neighbors, and fellow sojourners in this life. Hudson believed in the promises of God. "For I know the plans I have for you" declared the Lord, "plans to prosper you and not to harm you, plans to give you hope and a future." Jeremiah 29:11. The plans for Hudson included finding the love of his life, Martha Royce Gilliland, and marrying her on his birthday, on April 4, 1958. He was blessed with three children: Patricia Long Weaver, Pamela Baker, and Paul Roy Long. The family expanded with the addition of Patricia's husband, David Weaver; Pamela's husband, Tim Baker, and their children, Rachel Baker and Nathanael Baker; and Paul's wife, Kristina, and their children, Olivia and Madelyn. From his marriage to Martha, Hudson was also blessed with the addition of her nephew, Danny Tarver, and his wife, Jane. Hudson had been raised by his parents, Sherman "Buck" Long and Alice "Goldie" Long, out on the old family ranch on the Llano River in Llano County. His commute to school included traveling by horseback to connect to his ride into town. Hudson graduated from Llano High School and attended Southwest Texas State University in San Marcos. Hudson left the hill country behind to serve his country in the Navy. He loved to tell stories of the country boy in San Diego. The experience led to his love of sailing. After Hudson returned from service, he began ranching on the now family home in San Saba County, on the headwaters of Cherokee Creek. He met Martha after being introduced by his aunt to the new "pretty county agent." In 1966, he went to work at the Postal Service to supplement the family income. Hudson and Martha made a great team; she became an excellent rancher for a city girl, and he held down the fort in town. Hudson was always a tireless supporter of his children and grandchildren. If you knew Hudson, you know how he felt about his family. His and Martha's efforts resulted in all three children graduating from Howard Payne University, and Patricia going on to Baylor Law School. Pamela and her husband served for years as missionaries in the mission field, and Paul set out on his path in his wife's home town, Syracuse, Indiana, a great small town not unlike Llano. Hudson loved his wonderful grandchildren and was very proud of their accomplishments. He loved to have everyone out at the ranch and could always be called up to tell a great story, clean the fish, and set up the fish fry. Hudson started traveling in junior high, going by car from Llano to Alaska. He was photographed as a cowboy with Paul at Mount Vernon in 1976 by Japanese tourists, and they were so excited to meet a rancher. The trips continued and were very diverse, but they really became special when he and Martha started going to see and support Pamela in the mission field. Whether it was Maryland, Kenya, Zaire, the Philippines, or Europe, Hudson traveled to Pamela's postings. Some trips were very difficult - especially Zaire. His explanation of the logistics of traveling with foot lockers full of auto parts, which were needed so Tim could keep his equipment and truck running, was amazing. Other great trips included a family cruise to Key West and the Bahamas for his birthday, and his and Martha's wedding anniversary in 2016. Hudson caught the acting bug in high school and carried it into college. Later, he was involved in the Riverwalk Theatre Group in Llano, and played the lead in "Harvey." In 1992, Hollywood came calling. Actually, a movie was being filmed on Highway 71 outside Valley Spring, where a casting agent spotted Hudson and Martha and told them they could be in film. They both found work in the industry. Hudson started with being an extra, then a featured extra, which eventually led to commercials and a number of speaking roles. He got to meet and work with many famous stars and directors, but he claimed that his favorites were "Sandy" Bullock, Robert Duval, and Jeremy Irons. The family even got to attend two premieres of his movies at the Paramount Theater in Austin for "The Tree of Life" and "When Zachary Beaver Came to Town." In an effort to try and keep up with his wife, Hudson became a runner/walker and participated in area events, as well as the National Senior Games in Louisville in 2007 and San Francisco (Stanford) in 2009. He was also waiting at the finish line, sometimes with the family dog, when Martha finished the Capital 10K, which she started running in 2010. Hudson was a member of the First Baptist Church of Llano. He taught the Senior Men's Sunday School Class for over 25 years, and had been a long time church trustee. Knowing that age is not a barrier to service, when a need arose a number of years ago, he and Martha volunteered for Vacation Bible School to teach on missions. He loved meeting and working with the young children and he was able to do this for years. Hudson's community service also included being on the Board of New Horizons of Llano and the Board of the Llano County Historical Society, and he was a longtime supporter of the Llano County 4-H. The family will have visitation on January 29, 2018 from 4:00 p.m. to 6:30 p.m. at the Waldrope-Hatfield-Hawthorne Funeral Home in Llano. Services will be Tuesday, January 30, 2018, 10:00 a.m. at the First Baptist Church of Llano with Reverend James McGlothlin officiating; committal to follow at the Llano City Cemetery.

    LONG, Hudson Lee
    Born: 4/4/1933, Llano, Texas, U.S.A.
    Died: 1/24/2018, Llano, Texas, U.S.A.

    Hudson Lee Long’s western – actor:
    A Texas Funeral – 1999 (Crawford)

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  • 05/25/18--06:35: RIP Fred Peters

  • Fredrick D.'s Story

    Text size
    Reading, Massachusetts - Fredrick D. Peters of Reading, passed away peacefully at home, surrounded by his loving family on Friday, May 18, 2018 at age 95.

    Fredrick is the beloved husband of the late Alice (Moore) Peters. He is the devoted father of Patti and her husband Vito, Kenny and his wife, Stacey, Stephen, Brad and his wife Kuk Kai. The cherished grandfather of Sarah, Jessica, Shannon, Amanda, Nathaniel, Timmy, Stephanie, Zachary and Danny, Fredrick is the loving great grandfather of 7. He is the dear brother of Dan, Gertrude and Leona. Fredrick is the son of the late Fredrick Peters and Elvira (Tharp) Peters. He is also survived by many loving nieces and nephews.

    A native of Oklahoma, Fred Peters attended art schools in Oklahoma and Minnesota. He was drawn into illustration as a young boy, sketching some of his favorite cartoon strips, such as Prince Valient, Flash Gordon and Batman. He would buy stacks of what he called “big-little books,” detailing the superhero’s adventures. Commenting on his time as a student, Peters said he was "probably more interested in sketching than doing homework" when he was in school.
    In his mid-20's, after trekking out to California looking for work, he met with Disney Studios, armed with illustrations and landed a job on the spot. Remembering his time at The Disney Studio, he commented that "it was one of the best places" he had ever worked. Over the years he spent at Disney in the 1940s, he helped animate more than a hundred Pluto shorts. Even though Mickey Mouse's dog, Pluto was what he spent 90 percent of his time on, he also contributed to Jiminy Cricket, Bambi and special effects, such as illustrating water cascading down a fall, or putting finishing touches to other films. Whenever the animators weren’t occupied drawing, Disney himself encouraged the employees to indulge in a game of ping pong, baseball or a walk around the studio. "There was always lots to do, and he wanted everyone to call him Walt" Peters had said. More than 60 years have passed since he sat in the Disney Studio in Burbank, Calif., but in a couple of swift strokes the 95-year-old can still piece together a picture-perfect Pluto.
    Peters left Burbank to run his own studio in New York with a friend. However, the plan didn’t pan out, and instead he ended doing comic strips, animated television commercials and color slides. Eventually working for "MAD" comics. After some time in NY, he headed towards Boston, where he settled down with his wife Alice and their four children, Steve, Patti, Brad and Kenny. Fred ended up landing a job at the Boston Globe, where he remained for the next for 32 years, illustrating the Word Wizard and Electric Company comic strips. During his time at the Globe, he also dabbled in freelance commercial art, illustrating ads and brochures for companies.
    After retirement from the Globe, he became a member of several art associations throughout Massachusetts, N.H. and Florida, including a charter member of The Reading Art Association. His work was, and still is, represented in numerous states throughout the country, even as far away as Canada. Many of his talents have received awards and accolades throughout the years. During his years of retirement, he conducted classes in Florida, New Hampshire and Massachusetts, for many students wanting to learn the wonderful world of watercolor painting.
    Family and friends were cordially invited to gather and share memories with his Family on Tuesday, May 22, 2018 from 4 to 8 p.m. in the Doherty – Barile Family Funeral Home, 11 Linden St. Reading.

    Arrangements by the Doherty – Barile Family Funeral Home, 11 Linden St. Reading. For directions or to send a memorial condolence or

    Doherty – Barile Family Funeral Home

    PETERS, Fred (Fredrick D. Peters)
    Born:1/22/1923, Oklahoma, U.S.A.
    Died:5/18/2018, Reading, Massachusetts, U.S.A.

    Fred Peters’ westerns – illustrator:
    Gunfighter– 1948-1950
    Saddle Justice– 1948-1949

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  • 05/25/18--10:44: RIP Sergio Graziani

  • Il mondo dei doppiatori
    May 25, 2018

    Italian actor, voice dubber and director Sergio Graziani died May 25th in Rome. He was 87. Graziani was born on November 10, 1930 in Udine, Italy and was active as an actor and dubber since the 1950's. He’s best remembered as the Italian voice of Donald Sutherland, Peter O’Toole, Gianni Garko, Terence Hill and Klaus Kinski. His first western dubbing was as the Italian voice of Benito Stefanelli and Aldo Sambrell in “Fistful of Dollars” (1964). He was Terence Hill’s Italian voice in “God Forgives... I Don’t (1967), “Ace High” (1968), “Boot Hill” (1969), and “Trinity Sees Red” (1970). He was also the Italian voice of James Mason in “Bad’s Man River” (1971), George Hilton’s in “The Brute and the Beast” (1966), “Sartana’s Here… Trade Your Pistol for a Coffin” (1970) “A Man Called Invincible” (1973), “The Crazy Bunch” (1974) and Gianni Garko in “$1,000 on the Black” (1966), “$10,000 for a Massacre” (1967), “Have a Good Funeral” (1970), “Light The Fuse… Sartana is Coming” (1970). Sergio was awarded a lifetime achievement award at the Grand Prix International Dubbing convention in 2008.

    GRAZIANI, Sergio
    Born:11/10/1930, Udine, Friuli-Venezia Giuli, Italy
    Died: 5/25/2018, Rome, Lazio, Italy

    Sergio Graziani’s westerns – voice dubber:
    Fistful of Dollars – 1964 [Italian voice of Aldo Sambrell, Benito Stefanelli]
    The Man from Canyon City – 1965 [Italian voice of Robert Woods]
    The Tramplers – 1965 [Italian voice of Franco Balducci]
    The Brute and the Best – 1966 [Italian voice of George Hilton]
    Navajo Joe – 1966 [Italian voice of Aldo Sambrell]
    $1,000 on the Black – 1966 [Italian voice of Gianni Garko]
    Return of the Seven – 1966 [Italian voice of Robert Fuller]
    $7.00 on the Red – 1966 [Italian voice of Jose Manuel Martin]
    The Ugly Ones – 1966 [Italian voice of Jose Canalejas]
    A Bullet for the General – 1967 [Italian voice of Klaus Kinski]
    Django Kill – 1967 [Italian voice of Piero Lulli]
    Face to Face – 1967 [Italian voice of William Berger]
    God Forgives… I Don’t – 1967 [Italian voice of Terence Hill]
    $10,000 for a Massacre – 1967 [Italian voice of Gianni Garko]
    Ace High – 1968 [Italian voice of Terence Hill]
    The Nephews of Zorro – 1968 [Italian voice of Ivano Staccioli]
    Run, Man, Run – 1968 [Italian voice Marco Guglielmi]
    Once Upon a Time in the West – 1968 [Italian voice of Aldo Sambrell]
    The Wild and the Dirty – 1968 [Italian voice of Horst Frank]
    Forgotten Pistolero – 1969 [Alberto De Medoza]
    Viva Django! – 1968 [Italian voice of Terence Hill]
    Boot Hill – 1969 [Italian voice of Terence Hill]
    The Price of Power – 1969 [Italian voice Warren Venders]
    Sabata – 1969 [Italian voice of William Berger]
    The Specialist – 1969 [Johnny Hallyday]
    And God Said to Cain – 1970 [Italian voice of Klaus Kinski]
    Companeros – 1970 [Italian voice of Franco Nero]
    Have a Good Funeral – 1970 [Italian voice of Gianni Garko]
    Light The Fuse… Sartana is Coming – 1970 [Italian voice of Gianni Garko]
    A Man Called Sledge – 1970 [Italian voice of James Garner]
    Sartana’s Here… Trade Your Pistol for a Coffin – 1970 [Italian voice of George Hilton]
    They Call Me Trinity – 1970 [Italian voice of Farley Granger]
    My Name is Nobody – 1973 [Italian voice of Jean Martin]
    The Genius – 1975 [Italian voice of Klaus Kinski]
    The White, the Yellow, the Black – 1970 [Italian voice Manuel De Blas]
    Bad Man’s River – 1971 [Italian voice of James Mason]
    A Man Called Invincible – 1973 [Italian voice of George Hilton]
    The Crazy Bunch – 1974 [Italian voice of George Hilton]
    Dallas – 1974 [Italian voice of Anthony Steffen]
    Silver Saddle – 1978 [Italian voice Geoffrey Lewis]
    California – 1979 [Italian voice of Chris Avram]
    Dango Strikes Again – 1987 [Italian voice of Donald Pleasence]

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  • 05/27/18--14:30: RIP Julio Ribera

  • Spanish Comics Artist Julio Ribera dies
    May 27, 2018

    Spanish comics author Julio Ribera died at his home in Cognin (Savoy) at the age of 91, his family told AFP on Sunday.
    Ribera was the sketcher of the very original science fiction series 'El vagabundo de los limbos' (Dargaud), with scripts by Christian Godard.
    Very prolific, he collaborated for a long time with the newspaper Pilote, for which he created the character of Dracurella.
    Born on March 20, 1927 in a Republican family in Barcelona, ​​Ribera began his career in Spain, before fleeing Franco's dictatorship and arriving in Paris in 1954.
    He told this time in an autobiographical trilogy ('Montserrat', 'The despised youth' and 'Paris freedom').

    Ribera Julio (Julio Ribera Trucó)
    Born: 3/20/1927, Barcelona, Barcelona, Catalonia, Spain
    Died: 5/27/2018, Cognin, Spain

    Julio Ribera’s westerns – comic book illustrator:
    Pistol Jim - 1955

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  • 05/28/18--10:17: RIP Pippo Caruso

  • Pippo Caruso, the "master" of Pippo Baudo has died

    He died at 82 and had worked for many years with the presenter, from Fantastico to Sanremo. And Baudo said: “destroyed by the loss of a dear friend.”

    Corriere Della Sera
    May 28, 2018

    The master Pippo Caruso, who was born in Belpasso (Catania), died at age 82. He has directed the Rai orchestras of Rome and Milan, the symphony orchestra of the Rai and of the Sanremo Festival, that of Rome and Lazio and many others. The funeral will be celebrated on May 29, at 4 pm, in the church of Santa Croce in Passo Corese, a fraction of the Municipality of Fara in Sabina in the province of Rieti.

    The career

    He has linked his story to successful television programs, conducted by his friend and mentor Pippo Baudo, as various editions of the Sanremo Festival, Fantastico, Evening of honor, Numero Uno, Domenica in and others. Together with Baudo, he contributed to the launch of Heather Parisi and Lorella Cuccarini. But he has worked with many other artists, from Ornella Vanoni to Domenico Modugno passing through Loretta Goggi, Mia Martini, Enzo Jannacci and Pippo Franco. He has also directed several international artists such as Liza Minnelli, Céline Dion, Michael Bolton. And he also wrote soundtracks for films, TV fiction and theater performances.

    The memory of Pippo Baudo

    The news was confirmed by Pippo Baudo, who said he was "destroyed by the loss of a dear friend". "He was a very sweet teacher, he was very much loved by his musicians. He marked the history of our song, an important era of entertainment and culture in Italy. A fraternal friend went with him, "said Baudo. “He was good and fast - he remembers moved - he was able to compose songs of success in a very short time: he produced lots of them, and they were all beautiful. She was a very dear person and an extraordinary artist to whom I was very attached. I will miss”.

    CARUSSO, Pippo
    Born: 12/22/1935, Belpasso, Catania, Italy
    Died: 5/28/2018, Passo Corese, Rieti, Italy

    Pippo Carusso’s western – composer:
    Kill Johnny Ringo – 1966

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  • 05/28/18--12:03: RIP Allyn Ann McLerie

  • Allyn Ann McLerie, Actress in ‘Where’s Charley?’ and ‘They Shoot Horses, Don’t They?’ Dies at 91

    The Hollywood Reporter
    By Mike Barnes
    May 28, 2018

    The widow of 'Punky Brewster' actor George Gaynes, she also appeared on television in 'The Days and Nights of Molly Dodd.'

    Allyn Ann McLerie, the actress and dancer who starred in the Broadway and big-screen versions of Where's Charley? and played a freaked-out contestant in They Shoot Horses, Don't They?, has died. She was 91.

    McLerie died May 21 in North Bend, Washington, her daughter, Iya Falcone Brown, announced.

    On television, McLerie portrayed Blair Brown's mother on the 1987-91 NBC-Lifetime series The Days and Nights of Molly Dodd and played the priggish secretary of a widowed judge (Tony Randall) on the 1976-78 ABC-CBS sitcom The Tony Randall Show. Both shows were created by Jay Tarses.

    McLerie also had a recurring role as the wife of Gordon Jump's Arthur Carlson on the CBS comedy WKRP in Cincinnati, created by Hugh Wilson.

    She was married to Police Academy actor George Gaynes for 62 years until his death in February 2016 at age 98. In 1985, McLerie appeared on his comedy series Punky Brewster as his love interest.

    Her first husband was Adolph Green, the legendary playwright, lyricist and screenwriter behind such classics as On the Town, Bells Are Ringing, Singin' in the Rain and The Band Wagon. They divorced in 1953.

    Born in Canada and reared in Brooklyn, McLerie portrayed Amy Spettigue in George Abbott's musical farce Where's Charley? during its original Broadway runs in 1948-50 and 1951, then reprised the role for the 1952 Warner Bros. adaptation. Amy played the girlfriend of Ray Bolger's character, an Oxford University graduate who masquerades as his aunt from Brazil.

    In Sydney Pollack's bleak They Shoot Horses, Don't They? (1969), McLerie was memorable as an early dance partner of Red Buttons' aging sailor who suffers a breakdown during a Depression-Era dance marathon when she imagines she's covered in bugs.

    Born on Dec. 1, 1926, in Grand'Mere, Quebec, McLerie and her mother moved to the Bay Ridge neighborhood of Brooklyn to live with her maternal grandparents after her father, a Royal Canadian Air Force pilot, died three months before she was born.

    She took piano and dance lessons and attended Fort Hamilton High School, and at age 16 she danced on Broadway in One Touch of Venus, starring Mary Martin and choreographed by Agnes de Mille.
    McLerie also appeared on Broadway in the 1940s in On the Town— written by Green in his Broadway debut — and Miss Liberty under the direction of famed choreographers Jerome Robbins and George Balanchine. She later toured Europe with the American Ballet Theatre as the Cowgirl in de Mille's Rodeo.

    Her other Broadway performances included serving as an understudy to Gwen Verdon in 1959's Redhead and playing Anita in the 1960 revival of West Side Story.

    McLerie studied with Lee Strasberg at the Actors Studio, and as a contract player at Warner Bros., she starred opposite Doris Day in Calamity Jane(1953) and appeared in The Desert Song (1953), Phantom of the Rue Morgue (1954) and Battle Cry (1955).

    She went on to work alongside Robert Redford in Jeremiah Johnson (1972), The Way We Were (1973) — both directed by Pollack — and All the President's Men (1976) and garner roles in The Reivers (1969), The Cowboys (1972) and Cinderella Liberty (1973).

    McLerie also appeared on television on The Thorn Birds, St. Elsewhere, Barney Miller, The Love Boat, Dynasty, The Waltons and Brooklyn Bridge.

    She and Gaynes moved from Santa Barbara to North Bend in 2015 to live with their daughter and her husband, Norman. (Their son, Matthew, died in 1989 in a car incident in India.)

    Survivors also include granddaughter Niki and her husband, Simon, and great-granddaughters Portia and Harper.

    In lieu of flowers, the family asks that a donation be made to American Rivers or to The Alzheimer's Association.

    McLERIE, Allyn Ann
    Born: 12/1/1926, Grand-Mere, Quebec, Canada
    Died: 12/28/2018, North Bend, Washington, U.S.A.

    Ann Allyn McLerie’s westerns – actress:
    Calamity Jane - 1953 (Katie Brown)
    Bonanza (TV) – 1970 (Charity Moffet)
    Monte Walsh – 1970 (Mary Eagle)
    The Cowboys – 1972 (Ellen Price)
    Jeremiah Johnson – 1972 (crazy woman)
    The Magnificent Seven Ride (TV) – 1972 (Mrs. Donovan)
    Nichols (TV) – 1972 (Maggie)
    Seven Brides for Seven Brothers (TV) – 1982 (Doris Palmer)

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  • 05/28/18--20:20: RIP Cornelia Frances

  • Actor Cornelia Frances dead at 77

    THE son of Australian actor Cornelia Frances has shared a final photo of the Home and Away and The Weakest Link star.
    By Jonathon Moran
    May 29, 2018

    MUCH-loved Australian actor Cornelia Frances has lost her battle with cancer.

    The 77-year-old star of Home and Away is understood to have been surrounded by close family and friends when she died overnight in Sydney.

    Frances was a veteran of Australian acting, having played Morag Bellingham on long running Seven soap Home and Away.

    “Cornie was an incredibly loved and valued member of our cast over many, many years,”
    Frances’ son Lawrence shared a touching photograph of his mother’s final days.

    “A very personal photo of my mum during one of her resting moments, she is so peaceful, soft and serene. I truly love this woman,” he wrote on Instagram overnight.

    Home and Away actor Ray Meagher, who played her on screen brother, Alf, said. “We had a moment of silence for her on set this morning and she’ll be sadly missed by both cast and crew.”
    She also hosted Seven game show The Weakest Link.

    Her other credits include Sons and Daughters, Prisoner, Young Doctors and Kingswood Country.
    Channel 7 also paid tribute to the actor.

    “Cornelia Frances was a unique person,” a Seven spokeswoman said. “Her on screen presence inspired a generation of actors. This gift was coupled with an ability to bring a sense of dignity and presence into each room she entered. Her energy and character will be missed.”

    Frances was diagnosed with bladder cancer in 2017 before being told it had spread to her hip.
    The actor spoke to The Sunday Telegraph from her Royal North Shore Hospital bed in January.
    “I swear I have had a hex placed on me for the past 12 months,” she said.

    “I discovered I had bladder cancer. This then spread to my hip bone which fractured, and then I almost died from loss of blood due to an ulcer in my throat. Despite all this, I am still here, as the old song goes.”

    Francis found out she had cancer when going for a general check-up and, ironically, she received the cancer news at Royal North Shore Hospital, which was used as the set for the fictional Albert Memorial Hospital in Young Doctors.

    “I was told that I did indeed have cancer and it had metastasised to my pelvic bone. I just froze as I heard that word, and thought: Oh please God, I know I haven’t been a practising Catholic for many years but I am still a believer, help me,” she said in January.

    Frances also joked about her time in hospital last year

    “I had only just come out of surgery, and dealing with a fractured hip, which hurt like hell, when this nurse came to my bed and said: ‘Get up and walk’! I thought: This is worse than Sister Scott,” Francis said with a hearty laugh, in reference to the character from the 1970s soapie Young Doctors.
    “She wasn’t joking either. But I soon adopted my ‘Morag stance’ and politely put her in her place.
    “It turned out she hadn’t checked my charts and was unaware I had just had surgery. Now, Sister Scott would never made such a careless mistake.”

    At the time, Frances spoke of her hoped to return to acting as Ray “Alf” Meagher’s evil sister Morag.
    “I would dearly love to go back to Summer Bay but haven’t heard anything as yet,” she said.
    Frances is survived by her son, Lawrence.

    FRANCES, Cornelia (Cornelia Frances Zulver)
    Born: 4/7/1941, Liverpool, Merseyside, England, U.K.
    Died: 5/28/2017, Sydney, New South Wales, Australia

    Cornelia Frances’ western – actress:
    Return to Snowy River – 1988 (Mrs. Darcy)
    Outback – 1989 (Cardine Richards)
    Ned – 2003 (Tina)

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    Round Up
    Spring 1978

    How did I come to shoot a series of Westerns in the heroic era of cinema?

    There are several reasons why that the memory and influence that my stay in the American West had on me.

    I had the privilege to know some white and red men who had taken part in its history and to listen to their stories and report their memories. Then I became obsessed by the idea to revive their past by the use of animated photography that had just been born.

    But, I had to wait.

    I returned to France to do my military service at the 6 Cuirassiers, and that's where I had the opportunity (which may be considered a start) to "film a scene", for the regiment's fete of a diligent stagecoach attack, its preparation and its execution. One of the occupants of the "coach" was the inevitable daughter of the Sheriff (removed by the Indians, rescued by the Cowboys) and whose role was held by a brigadier’s daughter.It was not a cheap show, Indian costumes and cowboy gear came from the United States, that I still own, and gave the show an exact folkloric note.As for the horsemen, they were doing their business.

    Free from the service, I had not abandoned my plans, I inquired about the existing Procurement Houses.For my purposes, I learned how to use a camera and, as a matter of course, I wrote a few scripts whose subject could not exceed four hundred meters of useful film.

    During my early working days I made acquaintances with the operator MOREAU, returning from a distant report, I told him of my desires.

    The idea pleased him so in May 1906 we shot the first Western in the area of Arcueil (France). The picturesque site 5 kilometers south of Paris, stretched for more than one kilometer. Aprofound thirty meters, it had once been used as a gun range.The rocky boulder covered landscape perfectly represented a corner of a wild landscape.Long distance panoramic views could also be taken without showing a house or a telegraph pole.A small green lake sat resting in a deep quarry and was judiciously used. On the edge of this area lay quarries and huts of boards serving as sheds for the tools of the quarrymen which became cabins for Indians or trappers.

    The film, simply titled "Cow-Boy" was shot in two days with a young debutante, a solitary "Indian", two squires of his qualities, "PIEDS-BLANCS (WHITE-FEET)" my half tamed horse, with which I had to use in my series "ARIZONA BILL", four years later. A dog, a snake, the voluntary representation of a few caretakers whom I thanked for their collaboration by a distribution of packs of cigarette and a general tour, completed the distribution.

    At the same time I founded the first Western Club, the "BLUE STAR ASSOCIATION". We had our own horses and I was training them in the management of the lasso on the Prairie de Bagatelle where we had permission to practice. Most comrades were acting in my films with actors who ventured into this new art, who now have disappeared and are forgotten: JEAN- MARIE LAURENT [1877-1964], ANDRE VOLBERT, MAUGER, SENECHAL, CONSTANT REMY [1882-1958].

    The film studios were located at Boulevard Jourdan and La Porte d'Orleans. It was still only a large and high glass, in which the effects of light were obtained by a fire of velums slipping on rods (when there was sun). The sets were made on the spot and, in certain cases, when the action took place in a castle, for example, it was shot with a backdrop, on which, thanks to the talent of the painter-decorator, all the riches were visible.

    A short distance from the glass roof, in a classic suburban garden, on the premises of a villa with three floors served as a bureau with boxes and a deposit for fragile accessories.

    The "Director" had not yet defined his omnipotent attributions. The very first were head figures of the boulevard theaters.

    Well-known actors, were still coming little by little and cautiously to the 7thart. Let's not forget also that until 1914, in France, all genres - I say well all - had been approached.

    The small roles and the extras were recruited in a cafe on the Boulevard de Strasbourg, on the east side of the Eldorado. Sometimes we were forced to find some on the spot. In 1913, for instance, I hired a hundred or so workers from the Aries locomotive repair shops to play English soldiers and ... Boers of the recent war.

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    By Mark Butler
    May 17, 2018

    Has any piece of movie music more perfectly reflected the concept of ‘nemesis’ than Ennio Morricone‘s stunning, ominous ‘Man With A Harmonica’ theme?

    As Charles Bronson’s vengeful loner pursues the murderous Frank in Sergio Leone’s 1968 masterpiece Once Upon a Time in The West, the composer’s explosive, powerful work conveys the solemn thrill of someone about to dispense bloody justice – and the creeping fear of a villain whose violent past is finally catching up with him.

    It is, in short, the sonic embodiment of a reckoning.

    Fifty years on, Morricone’s blistering, beautiful and spellbinding music for Once Upon a Time in The West has lost none of its potency.

    A score that inspired a movie

    Most films have their composers put music to images far into post-production. These days, temp tracks are common right until the last possible moment. But such was Leone’s faith in his collaboration with Morricone, which had already spawned the hit ‘Dollars’ trilogy, he had him compose the key themes before filming – and played the music during the shoot in order to inspire his cast.

    What inspiration those actors must have received.

    Morricone’s beautiful main theme for Once Upon a Time in the West, which first plays as Claudia Cardinale’s Jill arrives alone at the train station, perfectly captures and drives home the bittersweet essence of Leone’s film.

    Edda Dell’Orso’s haunting operatic vocals, accompanied by shudder-inducing chimes and strings, are mournful and heart-breaking. They evoke a sense of boundless loss and longing.

    But then the orchestra builds to a triumphant flourish as the camera rises to show us the expanding bustle of activity, and rise of civilisation, against the stunning, expansive backdrop of the Old West.

    The marriage of music and visuals reflects the pioneer spirit of the shifting landscape, and Jill’s hope for a better life, but also the brutality and despair that ‘civilization’ is bringing with it. The coming railroad literally sends death out into the frontier in the shape of Henry Fonda’s ruthless enforcer, Frank, who guns down Jill’s new husband and his family in a bid to secure their land. Against this dichotomy, the music is unspeakably moving.

    Tragedy, mystery and conflict

    As for the aforementioned harmonica piece, it’s a visceral, exciting counterweight to the soaring main theme.

    It almost always accompanies impending bloodshed or – at the very least – the threat of it. Cleverly integrating the character’s own playing into the score, it blurs the lines between the sound of the film’s reality, and our own as a viewing audience.

    Almost all of the film’s principal characters are tragic in some way, and Morricone’s score reflects that. Through sorrowful music cues, it even finds room to make us feel some semblance of pity and empathy for corrupt railroad tycoon Morton – who dreamed of reaching the Ocean, but is left crawling helplessly towards a puddle with the sadistic Frank leering over him.

    The sound of silence

    There’s irony, of course, in the fact that no music whatsoever appears in the iconic, slow-burning opening sequence – save for Bronson’s spine-tingling burst of harmonica.

    But the movie’s use of tense, suspenseful silence at key moments only makes the arrival of Morricone’s score more impactful. When the aforementioned harmonica breaks the air of stillness, it induces an eerie, foreboding thrill; as surprising for us as it is for Frank’s doomed henchmen.

    The murder of McBain and his children, meanwhile, is another scene that uses the lack of sound quite deliberately to build tension before and during the terrible act itself.

    The soundtrack surges to life only as Frank’s posse themselves emerge from their hiding places once the deed is done. Again, it is scintillating.

    As if to sum up Morricone’s contribution, Bronson’s quiet, watchful character speaks only sparely – preferring to let his harmonica (and Bronson’s brilliantly craggy yet expressive features) do the talking.

    Harmonica’s simmering emotions under a cool, collected exterior, and the question of just how Frank wronged him, are resolved in cathartic fashion at the film’s end. In a reversal of the opening scene, his vengeance theme plays once more for a harrowing, revelatory flashback, before we suddenly snap to music-free silence for the showdown’s pay off.

    The greatest ‘spaghetti western’ – the greatest score?

    Morricone’s score for Once Upon a Time in The West may not be as ingrained in popular culture as his music for The Good, The Bad and The Ugly, or the other ‘Dollars’ films for that matter.

    But the film is arguably the greatest of Sergio Leone’s ‘spaghetti westerns’: profound, emotional, and thematically rich, as well as being atmospheric, captivating of vision, and – above all else – majestic of music.

    It is the culmination of Leone’s immersion in the violence and wonder of the American West, and of Morricone’s musical imagining of that backdrop.

    Now 89, Morricone is still producing great music. But even among a career of celebrated highs, 50 years on Once Upon a Time in the West stands as his opus. An unparalleled driving force of the images and story it serves.

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  • 05/30/18--08:07: RIP Dorothy Barrett

  • RIP Dorothy Barrett

    Forest Lawn
    March 10, 2018

    Dorothy Barrett, Hollywood Treasure and Local Icon 2/28/17 to 3/8/18 Director of the American National Academy of Performing Arts Founder/Director of the American National Academy's Children's Workshop The world lost one of its bright stars on March 8, 2018. Dorothy Barrett, passed away peacefully at the age of 101 in Studio City, CA. She was an icon of the San Fernando Valley and a shining reminder of the old Hollywood Era. Dorothy was a performer all of her life. At the age of seven, her first teacher was Eddie Mack, originator of the stair-case dance. Consequently, Miss Barrett danced all the stair cases of the Orpheum circuit for four years in her own tap dancing act. When Earl Carroll built his theater in Hollywood, he selected Dorothy Barrett as one of the "sixteen most beautiful girls in the world" for his "Earl Carroll Vanities". She appeared in a series of musical hits: Buddy De Sylva's "Louisiana Purchase", George Abbott's "Beat the Band" and Billy Rose's "Diamond Horseshoe". These Broadway successes placed Dorothy Barrett under the direction of such world renowned choreographers as George Ballanchine, David Luchine, Robert Alton, Hermes Pan, Nico Charisse, Leroy Prinz and John Murray Anderson. Later, as a Powers Model, she was screen tested and brought back to Hollywood. In 1945, Dorothy played her first lead in the Academy Award nominated RKO documentary short "Hot Money". While under contract to Paramount, she was in all of their major musical motion pictures, including: "Variety Girl", "I Take this Woman", "Blue Skies", "Stork Club", "St. Louis Blues", "Hitting a New High", "Monsieur Beaucaire". On loan to other studios, she appeared in "Mildred Pierce", "The Great Waltz", and "Weekend At The Waldorf. Dorothy was also one of the last living members of "The Wizard of Oz" cast and had the rare honor of also being in "Gone with the Wind". She danced with Fred Astaire, Gene Kelly, worked with Bob Hope and was "best friends" with Joan Crawford. She then started working with children. The Red Cross of America honored Dorothy for her work with children when she staged the gigantic Girl Scouts Dance Festival with a cast of seventy-eight at the Shrine Auditorium in Los Angeles. Francis Lederer, Founder/Director of the American National Academy of Performing Arts in Studio City, appointed Dorothy Barrett Administrator/Director of the Academy's Children's Workshop in 1965. The Academy is non-profit organization where everyone donates their time giving back to the performing arts community. In 2000, when Lederer passed away at the age of 100, Dorothy Barrett carried on his legacy as Director of the Academy. Dorothy loved teaching at the Academy. She put on over 60 Christmas Shows plus a multitude of other various live performances. In fact, Dorothy continued teaching up until January 2016. Dorothy received numerous honors and awards including Humanitarian of the Year by the City of Los Angeles, for her outstanding dedication to the development of the youth in our community and Lifetime Achievements from various organizations like Studio City Residents Association, the Horace Heidt Foundation and, of course, The American National Academy of Performing Arts. Dorothy will be missed greatly by family, friends, and students. But what a wonderful life she lived. She impacted the lives of so many. Dorothy Barrett has taught so many students who have gone on to succeed in the entertainment industry - too many to name. But she also impacted the lives of all she met. She always said that she loved to smile at people and see them smile back-- she would say, "You may have just brought the only bit of happiness to someone's day" . She was always delighted when someone recognized her and many will remember her bright smile as she strutted through our community. Services will be held Thursday March 15 @1:30pm at Forest Lawn Glendale "Wee Kirk o'the Heather Chapel." Arrangements are under the direction of Forest Lawn, Glendale, California.

    BARRETT, Dorothy
    Born: 2/28/1917, Los Angeles, California, U.S.A.
    Died: 3/8/2018, Studio City, California, U.S.A.

    Dorothy Barrett’s western – actress:
    Copper Canyon – 1950 (townswoman)

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  • 05/30/18--13:45: RIP Frank Doubleday

  • Frank Doubleday, Villain in John Carpenter’s ‘Escape From Ne York,’ Dies at 73

    The Hollywood Reporter
    By Mike Barnes

    His specialty was playing bad guys, as also witnessed in ‘The First Nudie Musical’ and another Carpenter film, ‘Assault on Precinct 13.’

    Frank Doubleday, a specialist in portraying villains who turned in a pair of especially creepy performances in the John Carpenter films Assault on Precinct 13 and Escape From New York, has died. He was 73.

    Doubleday died March 3 of complications from esophageal cancer at his home in Los Angeles, his wife and companion of 40 years, actress Christina Hart (Charley Varrick), told The Hollywood Reporter. She revealed the news of his death just this week.

    He also is survived by his daughters, actresses Portia Doubleday (Mr. Robot) and Kaitlin Doubleday (NashvilleEmpire), and his mother, Jane.

    In his first collaboration with Carpenter — just the director's second feature — Doubleday played a vicious member of L.A.'s Street Thunder gang who blows away a little girl (Kim Richards) in the exploitation flick Assault on Precinct 13 (1976).

    Then, in his signature role, Doubleday deliciously stood out as the spikey-haired Romero, the ghastly right-hand man of the Duke (Isaac Hayes), in Carpenter's post-apocalyptic masterpiece Escape From New York (1981).

    Talking about playing Romero in an undated interview, Doubleday said that he "totally created the role myself."

    "John gave me total creative freedom. The voice and the look were my ideas," he said. "I did a lot of character work and worked on Romero through voice, costume and movement. All my behavior was improvised. Once a character is created and is in one's skin, the behavior just comes naturally. … If the character has been internalized, it all just happens."

    Doubleday said the hissing sounds Romero made were inspired by Margaret Hamilton's Wicked Witch of the West in The Wizard of Oz, and on the DVD commentary track from Escape From New York, star Kurt Russell says it was Doubleday who "set the tone" for their movie.

    The actor had made his film debut as a thug with a switchblade in The First Nudie Musical (1976), starring Cindy Williams, and his characters were on the seedier side of the law in other films like Avenging Angel (1985), Space Rage (1985), Nomads (1986), Broadcast News (1987) and Dollman (1991).

    Doubleday also played criminal types on the small screen on shows including Police StoryT.J. HookerCharlie's AngelsStarsky & HutchHill Street Blues and Sledge Hammer! 
    "Since I don't look like the guy next door, they're gonna cast me in another direction," he said in 2013.

    Born on Jan. 28, 1945, in Norwich, Connecticut, Doubleday came to Los Angeles with his family when he was 6. While working for the U.S. Postal Service, he saw at production of Waiting for Godot at Los Angeles Pierce Junior College and decided to try his hand as an actor. (He would later star in the Samuel Beckett classic.)

    Doubleday then worked in an industrial film and in local theater productions before he first showed up on television in 1975 episodes of Police Story and Lucas Tanner.

    His other film credits include Alex & the Gypsy (1976), The Big Fix (1978), Butch and Sundance: The Early Days (1979), L.A. Bounty (1989) and Shakespeare's Plan 12 From Outer Space (1991).
    Doubleday also appeared in the plays Birdbath and Keep Tightly Closed in a Cool Dry Place, which he directed as well.

    DOUBLEDAY, Frank
    Born: 1/28/1945, Norwich, Connecticut, U.S.A.
    Died: 3/3/2018, Los Angeles, California, U.S.A.

    Frank Doubleday’s westerns – actor:
    The Quest (TV) – 1976 (Lutie)
    Butch and Sundance: The Early Years – 1979 (2nd outlaw)
    Space Rage - 1985 (brain surgeon)  

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