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Anne Baxter

Anne Baxter (May 7, 1923 – December 12, 1985) was an American actress, star of Hollywood films, Broadway productions, and television series. She won an Academy Award and a Golden Globe, and was nominated for an Emmy.

A granddaughter of Frank Lloyd Wright, Baxter studied acting with Maria Ouspenskaya and had some stage experience before making her film debut in 20 Mule Team (1940). She became a contract player of 20th Century Fox and was loaned to RKO Pictures for the role of Lucy Morgan in Orson Welles's The Magnificent Ambersons (1942), one of her earlier films. In 1947, she won both the Academy Award and the Golden Globe Award for Best Supporting Actress for her role as Sophie MacDonald in The Razor's Edge (1946). In 1951, she received an Academy Award nomination for Best Actress for the title role in All About Eve (1950). She worked with several of Hollywood's greatest directors, including Billy Wilder in Five Graves to Cairo (1943), Alfred Hitchcock in I Confess (1953), Fritz Lang in The Blue Gardenia (1953), and Cecil B. DeMille in The Ten Commandments (1956), for which she won a Laurel Award for Topliner Female Dramatic Performance.

Early life
Baxter was born May 7, 1923, in Michigan City, Indiana, to Catherine Dorothy ( Wright), whose father was the noted architect, designer Frank Lloyd Wright, and Kenneth Stuart Baxter, an executive with the Seagram Company.

When Baxter was five, she appeared in a school play. When she was six, her family moved to New York, where she continued to act. She was raised in Westchester County, New York and attended Brearley.

At age 10, Baxter attended a Broadway play starring Helen Hayes where she was so impressed she declared to her family she wanted to become an actress. By age 13, she had appeared on Broadway in Seen but Not Heard. During this period, Baxter learned her acting craft as a student of actress and teacher Maria Ouspenskaya.

In 1939, she was cast as Katharine Hepburn's younger sister in the play The Philadelphia Story, but Hepburn did not like Baxter's acting style, and Baxter was replaced during the show's pre-Broadway run. Rather than giving up, she turned to Hollywood.

20th Century Fox
At 16, Baxter screen-tested for the role of Mrs. DeWinter in Rebecca. Director Alfred Hitchcock deemed Baxter too young for the role, but she soon secured a seven-year contract with 20th Century Fox. In 1940, she was loaned to MGM for her first film 20 Mule Team, in which she was billed fourth after Wallace Beery, Leo Carrillo, and Marjorie Rambeau. She worked with John Barrymore in her next film The Great Profile (1940) and appeared as the ingénue in the Jack Benny vehicle Charley's Aunt (1941). She received star billing in Swamp Water (1941) and The Pied Piper (1942), which was nominated for the Academy Award for Best Picture.

Baxter was loaned to RKO to appear in director Orson Welles's The Magnificent Ambersons (1942). She was Tyrone Power's leading lady in Crash Dive (1943), her first Technicolor film. In 1943, she played a French maid in a North African hotel (with a French accent) in Billy Wilder's Five Graves to Cairo, a Paramount production. She became a popular star in World War II dramas and received top billing in The North Star (1943), The Sullivans (1944), The Eve of St. Mark (1944), and Sunday Dinner for a Soldier (1944), co-starring her future husband John Hodiak. Baxter later recalled, "I was getting almost as much mail as Betty Grable. I was our boys' idealized girl next door."

She was loaned to United Artists for the leading role in the film noir Guest in the House (1944), and appeared in A Royal Scandal (1945), with Tallulah Bankhead and Charles Coburn; Smoky (1946), with Fred MacMurray; Angel on My Shoulder (1946), with Paul Muni and Claude Rains.

Baxter co-starred with Tyrone Power and Gene Tierney in 1946's The Razor's Edge, for which she won both the Academy Award and the Golden Globe Award for Best Supporting Actress. Baxter later recounted that The Razor's Edge contained her only great performance, a hospital scene where the character Sophie "loses her husband, child and everything else." She said she relived the death of her brother, who had died at age three.

She was loaned to Paramount for a top-billed role opposite William Holden in Blaze of Noon (1947) and to MGM for a supporting role as Clark Gable's wife in Homecoming (1948). Back at 20th Century Fox, she played a wide variety of roles: a lawyer in love with Cornel Wilde in The Walls of Jericho (1948); Tyrone Power's Irish romantic interest in The Luck of the Irish (1948); a tomboy in Yellow Sky (1948), with Gregory Peck and Richard Widmark; a 1920s flapper in You're My Everything (1949), with Dan Dailey; and another tomboy in A Ticket to Tomahawk (1950), again with Dailey.

In 1950, Baxter was chosen to co-star in All About Eve largely because of a resemblance to Claudette Colbert, who originally was cast but dropped out and was replaced by Bette Davis. The original idea was to have Baxter's character gradually come to mirror Colbert's over the course of the film. Baxter received an Academy Award nomination for Best Actress for the title role of Eve Harrington. She said she modeled the role on a bitchy understudy she had for her debut performance in the Broadway play Seen but Not Heard at the age of 13 and who had threatened to "finish her off."

Her next Fox film Follow the Sun (1951) co-starred Glenn Ford as champion golfer Ben Hogan; Baxter played Hogan's wife Valerie. She was top-billed in the western The Outcasts of Poker Flat (1950), with Dale Robertson, and was part of an ensemble cast in O. Henry's Full House (1952), her last project for Fox. The comedy My Wife's Best Friend, with MacDonald Carey, was her second and last Fox film released in 1952. Baxter left 20th Century Fox in 1953.

Freelance
In 1953, Baxter contracted a two-picture deal for Warner Brothers. Her first was opposite Montgomery Clift in Alfred Hitchcock's I Confess; the second was the Fritz Lang whodunit The Blue Gardenia, in which she played a woman accused of murder.

In June 1954, Baxter won the part of the Egyptian princess and queen Nefertari in Cecil B. DeMille's award-winning The Ten Commandments. Her scenes were shot on Paramount's sound stages in 1955, and she attended the film's New York and Los Angeles premieres in November 1956. Despite criticisms of her interpretation of Nefertari, DeMille and The Hollywood Reporter both thought her performance was "very good", and The New York Daily News described her as "remarkably effective". For her work in The Ten Commandments, she won a Laurel Award for Topliner Female Dramatic Performance. She later remembered the film in an interview: "DeMille asked me to come in. His office at Paramount was bursting with books, props, rolls of linens. I told him I'd have to wear an Egyptian false nose and he pounded the table. 'No. Baxter, your Irish nose stays in this picture.' He acted out my part and I kept nodding, and I walked out with the part. The sound stage sets were magnificent. It was all corny, sure, but DeMille knew it was corny—that's what he wanted, what he loved. I loved slinking around—really, this was silent film acting but with dialogue."

In 1960, Baxter received a motion pictures star on the Hollywood Walk of Fame at 6741 Hollywood Boulevard.

Later career
Baxter worked regularly in television in the 1960s. She appeared as one of the mystery guests on What's My Line? She also starred as guest villain Zelda The Great in episodes 9 and 10 of the Batman series. She appeared as another villain, Olga, Queen of the Cossacks, opposite Vincent Price's Egghead in three episodes of the show's third season. She played an old flame of Raymond Burr on his crime series Ironside. Baxter made a guest appearance on My Three Sons season 8 episode 10, aired on November 4, 1967, called "Designing Woman", portraying a glamorous female engineer who wanted Steve Douglas (Fred MacMurray) as a love interest and possible future husband.

Baxter returned to Broadway during the 1970s in Applause, the musical version of All About Eve, but this time as Margo Channing (succeeding Lauren Bacall).

In the 1970s, Baxter was a frequent guest and guest host on The Mike Douglas Show. She portrayed a murderous film star on an episode of Columbo, titled "Requiem for a Falling Star". In 1971, she had a role in Fools' Parade as an aging prostitute. In 1983, Baxter starred in the television series Hotel, ironically replacing iconic former film costar Bette Davis (All About Eve) after Davis became ill.

Personal life
Baxter married actor John Hodiak on July 7, 1946, at her parents' home in Burlingame, California. The couple had one daughter, Katrina, born in 1951. They divorced in 1953. At the time, she said they were "basically incompatible", but in her book she blamed herself for the separation: "I had loved John as much", she wrote. "But we'd eventually congealed in the longest winter in the world. Daily estrangement. Things unsaid. Even a fight would have warmed us. To my shame, I'd picked one at last in order to unfreeze the word 'divorce'."

In the mid-1950s, Baxter began a relationship with Gambino gangster Filippo Autelitano and later, her publicist Russell Birdwell, who took control of her career and directed her in The Come On (1956). The couple formed Baxter-Birdwell Productions to make films on a 10-year plan; Baxter would star in the films and Birdwell would work behind the camera. Princeton University Library has a collection of 175 letters by Baxter to Birdwell.

In 1960, Baxter married a second time to Randolph Galt, an American owner of a cattle station at Gloucester near Sydney, where she was filming Summer of the Seventeenth Doll. After the birth of their second daughter, Maginel, back in California, Galt unexpectedly announced that they were moving to a 4,452 ha ranch south of Grants, New Mexico. They then moved to Hawaii (his home state) before settling back in Brentwood, California. Baxter and Galt were divorced in 1969. In 1976, Baxter recounted her courtship with Galt (whom she called "Ran") in a well-received book called Intermission. Melissa Galt, Baxter's first daughter with Galt, became an interior designer and then a business coach, speaker, and seminar provider. Maginel became a cloistered Catholic nun, reportedly living in Rome. After 11 years in Italy and 20 years living monastic life, Maginel left religion altogether

In 1977, Baxter married David Klee, a stockbroker. It was a brief marriage; Klee died unexpectedly from illness. The newlywed couple had purchased a sprawling property in Easton, Connecticut, which they extensively remodeled; however, Klee did not live to see the renovations completed. Although she maintained a residence in West Hollywood, Baxter considered her Connecticut home to be her primary residence.

Baxter was a Republican who was active in the campaigns of Thomas E. Dewey and Dwight D. Eisenhower.

Death
Baxter had a stroke on December 4, 1985, while hailing a taxi on Madison Avenue in New York City. She remained on life support for eight days in New York's Lenox Hill Hospital, until family members agreed that brain function had ceased, and died on December 12, at the age of 62.

title: Anne Baxter


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Eleanor Parker

Eleanor Jean Parker (June 26, 1922 – December 9, 2013) was an American actress. She was nominated for three Academy Awards for her roles in the films Caged (1950), Detective Story (1951), and Interrupted Melody (1955), the first of which won her the Volpi Cup for Best Actress. She was also known for her roles in the films Of Human Bondage (1946), Scaramouche (1952), The Naked Jungle (1954), The Man with the Golden Arm (1955), A Hole in the Head (1959), The Sound of Music (1965), and The Oscar (1966).

Early life
Eleanor Jean Parker was born on June 26, 1922, in Cedarville, Ohio, the daughter of Lola (née Isett) and Lester Day Parker. She moved with her family to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. "Ever since I can remember, all I wanted to do is act", she said. "But I didn't just dream about it. I worked at it."

She appeared in a number of school plays. After graduation, she went to Martha's Vineyard to work on her acting. She got a job as a waitress and was offered a screen test by 20th Century Fox, but turned it down. Wanting to focus on films, she moved to California and started appearing at the Pasadena Playhouse.

Warner Bros

She was in the audience one night at Pasadena Playhouse when spotted by a Warners Bros talent scout, Irving Kumin. He offered her a test, and she accepted; the studio signed her to a long-term contract in June 1941.

She was cast that year in the film They Died with Their Boots On, but her scenes were deleted. Her actual film debut was as Nurse Ryan in the short film Soldiers in White in 1942.

She was given some decent roles in the B films Busses Roar (1942) and The Mysterious Doctor (1943), and she had a small role in Mission to Moscow (1943). This performance impressed Warners, so when Joan Leslie was held up on Rhapsody in Blue, Parker replaced her in Between Two Worlds (1944), playing the wife of Paul Henreid's character.

She stayed in supporting roles for Crime by Night (1944) and The Last Ride (1944), then was given the starring role with Dennis Morgan in The Very Thought of You (1944), replacing Ida Lupino. She was given a cameo in Hollywood Canteen (1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (1946). Although director Edmund Goulding called Parker one of the five greatest actresses in America, previews were not favorable, and the film sat on the shelf for two years before being released to an underwhelming reception. However, in 1953, Parker called it her favorite role.

Parker later said the "big break" of her career was when she was cast with John Garfield in Pride of the Marines (1945). "It was a great part, and who wouldn't look good with John Garfield", she later said. "He was absolutely wonderful." However, two films that followed with Errol Flynn, the romantic comedy Never Say Goodbye (1946) and the drama Escape Me Never (1947), were box-office disappointments.

Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (where she was replaced by Alexis Smith) and Love and Learn.

She made the comedy Voice of the Turtle (1947, aired today under the title One for the Book) with Ronald Reagan and was in an adaptation of The Woman in White (1948). She refused to appear in Somewhere in the City (1948) so Warners suspended her again; Virginia Mayo played the role.

Parker then had two years off, and during this time, she married and had a baby. She turned down a role in The Hasty Heart (1949), which she wanted to do, but it would have meant going to England, and she did not want to leave her baby alone during its first year. "I probably received my salary for only six months during 1947 and 1948, but I can't regret that", she said. "All my life, I wanted a child, and anything that might happen to me professionally on that account would hardly seem a loss."

She returned in Chain Lightning with Humphrey Bogart. "I've had my fling at roles that have little or no relation to most people's lives", she said in a 1949 interview. "I want to keep away from such assignments, as I can from now on, even though, as some may say, they mean exercising your skill and talent in acting."

Parker heard about Caged (1950), a film Warners was making of a woman in prison, and she lobbied the role. She got it, and won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (1950).

In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release.

Paramount
Parker's career outside of Warners started badly with Valentino (1951), where she played a fictionalized wife of Rudolph Valentino, and then she tried the comedy A Millionaire for Christy (1951) (originally called The Golden Goose).

In 1951, Parker signed a contract with Paramount for one film per year, with an option for outside films. This arrangement began brilliantly with Detective Story (1951) for director William Wyler, playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (played by Kirk Douglas); Parker was nominated for the leading actress Oscar in 1951 for her performance, which, to date, remains the shortest performance to be nominated in the category.

MGM
Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (played by Stewart Granger) in Scaramouche (1952), a role originally intended for Ava Gardner. Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry, and the film was a massive hit. MGM rushed her into Above and Beyond (1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making Escape from Fort Bravo (1953), she signed a five-year contract with MGM.

She was named as star of My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1901 mail-order bride in The Naked Jungle (1954), directed by Byron Haskin and produced by George Pal.

Parker returned to MGM where she was reunited with Robert Taylor in Valley of the Kings (1954) and the Western Many Rivers to Cross (1955).

"I maintain that if you work, believe in yourself, and do what is right for you without stepping all over others, the way somehow opens up", she said in 1953. "By that, I don't mean just sitting back. At Warners, they still have a mile-long list of my suspensions for refusing certain parts. Anyway, I never did a Western. Not once. It's paid off too."

In a 1954 interview, she said her favorite films were Caged and Detective Story and her least favorite were Chain Lightning, Escape Me Never, Valentino, and The Woman in White. She had commitments to make two films per year at MGM and one per year at Paramount. "Personally, I prefer to be under contract", she said.

MGM gave her one of her better roles as opera singer Marjorie Lawrence in Interrupted Melody (1955). It was a big hit and earned Parker a third Oscar nomination; she later said it was her favorite film.

Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (1955), directed by Otto Preminger and released through United Artists. She played Zosh, a woman in a wheelchair and the wife of heroin-addicted would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success.

In 1956, she was billed above the title with Clark Gable for the comedy The King and Four Queens, also for United Artists.

It was then back to MGM for two movies, both dramas: Lizzie (1957), in the title role, as a woman with a split personality, and The Seventh Sin (1957), a remake of The Painted Veil. Both films flopped at the box office, and as a result, Parker's plans to produce L'Eternelle, about French resistance fighters, did not materialize.

Later films, and transition into television and theatre
Parker supported Frank Sinatra in the popular comedy A Hole in the Head (1959). She returned to MGM for Home from the Hill (1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place, a 1961 sequel to the hit 1957 film. It was made by 20th Century Fox which produced Madison Avenue (1961) with Parker.

In 1960, she made her TV debut. "I look for the quality story and for parts that I think will be good or fun. People told me I was crazy to do Hole in the Head and Home from the Hill, but both those pictures appealed to me. I did enough of the bad ones (films), while I was under contract – because I was being told to do them. That's the problem with being under contract. You do the pictures, or be suspended. Now, I don't want to work unless I have faith in the part. This has nothing to do with wanting to be famous, or anything like that. It's just that I love acting."

In the early 1960s, she worked increasingly in television, with the occasional film role such as Panic Button (1964).

Parker's best-known screen role was playing Baroness Elsa von Schraeder in the 1965 Oscar-winning musical The Sound of Music.

In 1966, she played an alcoholic widow in the crime drama Warning Shot, a talent scout who discovers a Hollywood star in The Oscar, and a rich alcoholic in An American Dream. From the late 1960s, she focused on television roles.

In 1963, Parker appeared in the medical drama The Eleventh Hour in the episode "Why Am I Grown So Cold?", for which she was nominated for an Emmy Award as Outstanding Single Performance by an Actress in a Leading Role. In 1964, she appeared in the episode "A Land More Cruel" on Breaking Point. In 1968, she portrayed a spy in How to Steal the World, a film originally shown as the two-part concluding episodes of The Man from U.N.C.L.E..

Parker starred with Michael Sarrazin and Gayle Hunnicutt in her final theatrical film of the 1960s, the tense thriller Eye of The Cat (1969), which was written by Joseph Stefano.

In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award as Best TV Actress – Drama. "I wanted to do the series so I could stay put", she said. "Every movie I'm offered is shot in Europe or Asia or somewhere. I'm tired of running around." Parker left the series after the first 16 episodes, citing the limited nature of her role.

After 1969, she worked steadily, but except for a small role in Sunburn (1979), her onscreen acting was on television. Parker appeared in the NBC series Ghost Story episode "Half a Death" (1972). Parker appeared in the TV movie Maybe I'll Come Home in the Spring (1971) and on TV in Home for the Holidays (1972). She starred in other TV movies and made guest appearances on series such as Hawaii Five-O, The Love Boat, Hotel, and Murder, She Wrote. Her final TV role was in the 1991 TV movie Dead on the Money.

Concurrent with her TV career, Parker starred in a number of theatrical productions, including the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. The role originally was played in the musical by Lauren Bacall. In 1976, she played Maxine in the Ahmanson Theater revival of The Night of the Iguana. She was replaced in the Circle in the Square Theatre revival of Pal Joey during previews.

For her contributions to the movie industry, Parker was honored with a star on the Hollywood Walk of Fame at 6340 Hollywood Boulevard.

Personal life
Parker was married four times:
 * Fred Losee – married in March 1943, divorced in 1944.
 * Bert E. Friedlob – married in 1946, divorced in 1953; the marriage produced three children.
 * Paul Clemens, American portrait painter – married in 1954, divorced in 1965; the marriage produced one child, actor Paul Clemens.
 * Raymond N. Hirsch – married in 1966, widowed on September 14, 2001, when Hirsch died of esophageal cancer.

She was the grandmother of actor Chase Parker.

Parker was raised a Protestant, and later converted to Messianic Judaism, a form of Christianity which takes on some Jewish characteristics, telling the New York Daily News columnist Kay Gardella in August 1969: "I think we're all Jews at heart...I wanted to convert for a long time." She embraced and was a supporter of Messianic Jewish philosopher, teacher, and commentator Roy Masters, owner of the Foundation of Human Understanding in Grants Pass, Oregon. In 1978, she wrote the foreword to Masters's book How Your Mind Can Keep You Well.

Parker, a life-long Democrat, endorsed Adlai Stevenson for president in the 1952 presidential election.

Death
Eleanor Parker died on December 9, 2013, at a medical facility in Palm Springs, California from complications of pneumonia. She was 91.

Theatre credits

 * Applause (1972)
 * The Night of the Iguana (1976) – Ahmanson Theatre
 * Pal Joey (1976) – replaced during previews

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title: Eleanor Parker


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Caged (1950 film)

Caged is a 1950 American film noir directed by John Cromwell and starring Eleanor Parker, Agnes Moorehead, Betty Garde, Hope Emerson, and Ellen Corby. It was nominated for three Academy Awards.

The film portrays the story of a young newlywed sent to prison for armed robbery. Her brutal experiences while incarcerated, along with the killing of her husband, transform her from a meek, naive woman into a hardened convict. The film's subplot includes massive prison corruption.

Caged was adapted by Virginia Kellogg from the story "Women Without Men" by Kellogg and Bernard C. Schoenfeld. In 1948, the studio had originally intended the film to be a vehicle for Bette Davis and Joan Crawford, but financial differences intervened.

Plot
Married 19-year-old Marie Allen, is sent to prison after a botched armed robbery attempt with her husband, Tom, who is killed. While receiving her initial prison physical examination, she learns that she is two months pregnant.

Marie has trouble adjusting to the monotonous and cutthroat world of the women's prison. She meets Kitty Stark, a murderous shoplifter, who promises Marie work as a thief when she is released. Kitty stresses the importance of toughness while incarcerated.

Informed that she may be paroled in ten months, Marie witnesses several prisoners who are granted parole but must remain in jail because their parole officers have not secured work for them. One such hopeless prisoner hangs herself. This steadily drains Marie's hopes for an early release.

Despite the rule of sadistic matron Evelyn Harper, Marie gives birth to a healthy but premature baby. She plans to grant temporary custody to her mother with the intent of taking the child after she is released, but Marie's stepfather will not allow the baby in his house. After Marie is denied parole, she tries half-heartedly to escape. She is not punished for the attempt, but the authorities force her to surrender her child for adoption.

The arrival of notorious criminal Elvira Powell triggers a rivalry with Kitty. Elvira bribes Harper to place Kitty in solitary confinement, where Kitty is beaten. When a kitten is found in the jail yard, Marie attempts to adopt it as a pet, but Harper tries to take the kitten, prompting the inmates to riot. The kitten is accidentally killed during the melee and Marie is punished for fighting with Harper.

Before taking Marie to a solitary-confinement cell, Harper shaves Marie's head, symbolically stripping her of her innocence. Harper has disagreements with sympathetic reformist prison superintendent Ruth Benton, especially after the latest incident with Marie. Because Harper is a political appointee, the police commissioner refuses to fire her and instead asks for Benton's resignation. When Benton declares that she will demand a public hearing, the resignation issue is dropped.

Kitty finally rejoins her fellow inmates after serving a month in solitary confinement, but she is distraught and mentally unstable. After being harassed by Harper in the prison cafeteria, Kitty stabs Harper to death as the inmates watch and make no attempt to stop it. Marie—now hardened by her exposure to career criminals and sadistic guards—encourages Kitty in the fatal assault.

Eligible for parole once again, Marie claims to have secured a job outside the prison. However, the job is simply a ruse to win her release so that she can join Elvira's shoplifting gang. Marie leaves the institution a cynical, unscrupulous woman. After Marie is freed, an office assistant asks Benton what to do with Marie's file. Benton replies: "Keep it active. She'll be back."

Cast

 * Eleanor Parker as Marie Allen
 * Agnes Moorehead as Ruth Benton
 * Ellen Corby as Emma Barber
 * Hope Emerson as Evelyn Harper
 * Betty Garde as Kitty Stark
 * Sheila MacRae as Helen

 * Jan Sterling as Jeta Kovsky aka "Smoochie"
 * Lee Patrick as Elvira Powell
 * Jane Darwell as Solitary Confinement Matron
 * Gertrude W. Hoffmann as Millie
 * Olive Deering as June Roberts
 * Gertrude Michael as Georgia Harrison

Reception
In 1950, Variety gave a mixed but predominantly positive review of Caged, characterizing it as a "grim, unrelieved study of cause and effect" that "still adds up to very drab entertainment". Nevertheless, Variety was very complimentary of nearly all aspects of the film's production, including its direction, editing, set designs, music, and cast performances, especially those of Parker and Emerson: "'Plot provides Eleanor Parker with what is known as a meaty femme role, completely deglamorized, and she plays it with considerable ability. There are other strong performances...all running true to the types depicted, and the most colorful is the sadistic prison matron socked over by Hope Emerson. ...The direction by John Cromwell and Jerry Wald's production draw a rather clear picture of the dreariness of prison life and the hopelessness it instills in all but the very strong inmate. There's high and low society, a definite blue book based on crime and convictions, among the prisoners....Art direction, set directions and the lensing by Carl Guthrie all emphasize the grimness of prison life. Cutting has done a good job in holding the footage to 96 minutes, and there is a Max Steiner score that fits the mood of the production.'"

Another American reviewer in 1950, Film Bulletin, gave generally high marks as well to Caged. The publication contended that the film's "stark, gripping" social commentary would be even more powerful if the "dismal atmosphere" of its storyline had at least a few contrasting lighter moments. “'Caged’”, Film Bulletin observed, "is to penal institutions what The Snake Pit was to mental institutions and The Lost Weekend to alcoholism."

In a much later review, critic Emanuel Levy in 2007 generally praised the film too:"...master of melodrama, John Cromwell directs in a taut style, coaxing excellent performances from his female-dominated cast...'Caged' walks a fine line between a socially conscious drama (and wake-up call) and exploitative, borderline campy fare."

Leonard Maltin's Movie Guide in 2014 favorably awarded Caged three out of four stars, describing the film overall as “stark” with "remarkable" performances.

In popular culture
Caged is satirized in a 1977 SCTV comedy sketch as "Broads Behind Bars" with the character of Marie renamed "Cheryl" (and portrayed by comedian Catherine O'Hara). Cheryl is depicted as a teenager in the mid-to-late 1950s, who after smoking "pot" ends up in prison after being framed for armed robbery and also learns later that she is pregnant. The character of Kitty is played by Andrea Martin, while John Candy, in drag, plays the role of matron Harper (called "Schultzy"). A knife fight between Kitty and Harper occurs in the skit, instead of a fork as in the film, although both Kitty and Schultzy die. Kitty is fatally stabbed by Schultzy, and Schultzy is later killed by Cheryl. For her action, Cheryl is then told she can be released from prison, however, she responds by only laughing and declining the offer, echoing Kitty's remark in the original film, “No dice!” The skit, in the end, presents itself not only as a parody of “women-in-prison” movies like Caged but also as a spoof of the anti-marijuana films that were presented to students in many American high schools during the late 1950s and early 1960s.

Streaming audio

 * Eleanor Parker also stars in the radio version of Caged, which was originally broadcast eight months after the film's release. It was presented by NBC Radio on August 2, 1951, as episode #112 of the network's anthology series Screen Directors Playhouse. That adaptation is free for download at the Internet Archive.

title: Caged (1950 film)


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Paola

Paola is a female given name, the Italian form of the name Paula. In Greek it is: Polina. Notable people with the name include:

In arts and entertainment

 * Paola Del Medico (born 1950), Swiss singer
 * Paola e Chiara, pop music duo consisting of two sisters born in Milan, Italy
 * Paola Foka (born 1982), Greek singer
 * Paola Gaviria known as Power Paola (born 1977), Colombian-Ecuadorian cartoonist
 * Paola Lázaro (born 1994), Puerto Rican actress and playwright
 * Paola Oliveira, Brazilian actress
 * Paola Rey (born 1979), Colombian actress
 * Paola Rojas (born 1976), Mexican television news personality
 * Paola Turbay (born 1970), Colombian actress

In politics

 * Paola Balducci (born 1949), Italian politician and jurist
 * Paola Concia (born 1963), Italian politician
 * Paola De Micheli (born 1973), Italian politician
 * Paola Pabón (born 1978) Ecuadorian politician and feminist
 * Paola Pinna (born 1974), Italian politician
 * Paola Pisano (born 1977) Italian academic and politician
 * Paola Severino (born 1948), Italian politician
 * Paola Taverna (born 1969), Italian politician

In sports

 * Paola Cardullo (born 1982), Italian volleyball player
 * Paola Cavallino (born 1977), Italian swimmer
 * Paola Croce (born 1978), Italian volleyball player
 * Paola Duguet (born 1987), Colombian swimmer
 * Paola Ferrari (basketball) (born 1985), Paraguayan player
 * Paola Ogechi Egonu (born 1998), Italian volleyball player
 * Paola Espinosa (born 1986), Mexican diver
 * Paola Longoria (born 1989), Mexican racquetball player
 * Paola Moro (born 1952), Italian long-distance runner
 * Paola Mosca Barberis (born 1977), Italian alpine skier
 * Paola Paggi (born 1976), Italian volleyball player
 * Paola Pereira da Silva (born 2003), Brazilian footballer
 * Paola Pezzo (born 1969), Italian mountain bike racer
 * Paola Reis (born 1999), Brazilian BMX rider
 * Paola Suárez (born 1976), Argentinian tennis player
 * Paola Vukojicic (born 1974), Argentinian field hockey player
 * Paola Vukojicic (born 1974), Argentinian field hockey player

In other fields

 * Paola De Luca (born 1966), Italian designer
 * Paola del Medico (born 1950), Italian singer
 * Paola Drigo (1876–1938), Italian writer
 * Paola Flocchini, Italian-Canadian computer scientist
 * Paola Leone, Italian biologist
 * Paola Loreti, Italian mathematician
 * Paola Voci, academic specialising in Chinese language and culture
 * Queen Paola of Belgium (born 1937), Belgian queen consort

Surname

 * Andrea De Paola (born 1990), Italian footballer
 * Danna Paola (born 1995), Mexican actress and singer
 * Suzanne Paola (born 1956), American poet and author

title: Paola


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User talk:Hyungjin Ahn

Hi,please leave any comment here. Thanks. --Hyungjin Ahn (talk) 07:16, 11 March 2010 (UTC)

Usercategorization
You were listed on the Wikipedians/Korea page as living in or being associated with Korea. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in Korea for instructions. Rmky87 15:00, 17 September 2005 (UTC)

title: User talk:Hyungjin Ahn


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Rafael Bracero

Rafael Bracero Torres (born 1940 in Santurce, Puerto Rico) is a Puerto Rican sportscaster. Bracero graduated from the University of Puerto Rico at Mayagüez then known as Colegio de Artes Mecánicas (College of Arts and Mechanical Arts - CAAM in Spanish) with a degree in civil engineering, and then he joined Puerto Rico's Perez Perry Channel 11 to cover sports as their main reporter.

The Perez Perry Network soon went bankrupt and then Bracero became the night sportscaster on WAPA-TV, a position in which he performed at for two years and a half. At WAPA TV, their night news edition sportscasters were considered by WAPA executives as being second string to their afternoon news edition colleagues, so Bracero would, for those two years and a half, perform under the shadow of Luis Rigual, WAPAs afternoon sportscaster. Nevertheless, he joined Rigual to cover boxing fights and other live sporting events, and in sports documentaries. When Rigual died in 1983, Bracero became his substitute on the afternoon news cast.

Still as a WAPA sportscaster, Bracero worked with the transmissions of BSN basketball games (which he shared with Manolo Rivera Morales and Fufi Santori), boxing telecasts, MLB baseball games and football games. In 1988, he assisted with WAPA's transmission of the 1988 Seoul Olympic Games. One of Bracero's catchphrases during his basketball game telecasts was "Eeel Canasto!!!" (loosely translated to "Theee basket"!) which he pronounced in a way similar to Marv Albert's "from downtown!* and became a popular phrase in Puerto Rican jargon at the time.

Bracero performed for WAPA TV as a sportscaster until he retired during 2017. He has written various books and is also an engineer. He has interviewed many sports stars, and he has traveled often to do specials and documentaries for boxing fights, such as the one he did before the fight between Héctor Camacho and Edwin Rosario, and before Rosario's bout with Julio César Chávez.

On October 18, 2012, WAPA Television honored Bracero for being the station's main sportscaster during 30 years.

Also during 2012, Bracero, along with Juan González, Félix Trinidad, Felix Trinidad Sr. and others, became a member of the Puerto Rican Sports Hall of Fame.

title: Rafael Bracero


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Detective Story (1951 film)

Detective Story is a 1951 American crime drama directed by William Wyler and starring Kirk Douglas that tells the story of one day in the lives of the various people who populate a police detective squad. The ensemble supporting cast features Eleanor Parker, William Bendix, Cathy O'Donnell, and George Macready. Both Lee Grant and Joseph Wiseman play large roles in their film debuts. The film was adapted by Robert Wyler and Philip Yordan from the 1949 play of the same name by Sidney Kingsley. It was nominated for four Academy Awards, including Academy Award for Best Director for Wyler, Best Actress for Parker, and Best Supporting Actress for Grant.

An angry New York detective is one of a precinct of cops in a grim daily battle with the city's lowlife. Little does he realize that his obsessive pursuit of an "abortionist" is leading him to a discovery closer to home. The characters who pass through the precinct over the course of the day include a young petty embezzler, a pair of burglars, and a naive shoplifter.

Plot
The movie's events occur over a single night in the detective bullpen of a police station. Detective Jim McLeod (Kirk Douglas), whose violent criminal father drove his mother to insanity, nurtures a lifelong hatred of lawbreakers and is convinced that he has a flawless instinct for identifying criminals. He maintains a particular contempt for Dr. Karl Schneider (George Macready), who McLeod is convinced has performed illegal abortions that have resulted in patient deaths. McLeod has persuaded Schneider’s assistant (Gladys George) to implicate him in a police line-up. However, Schneider bribes her not to pick him out, infuriating McLeod.

Concurrently, several other cases are being processed in the bullpen. The detectives have arrested burglar Charley Gennini (Joseph Wiseman), who is revealed to be a psychopath with an extensive criminal record including murder and rape. McLeod also books a young man named Arthur Kindred (Craig Hill), who has admitted stealing money from his employer to try to impress the girl he loves. Although the employer is sympathetic and wants to drop charges after he is repaid, McLeod refuses to release the remorseful Kindred, saying that leniency only leads to more crime. Despite evidence of Kindred's kind nature, McLeod is unwilling to distinguish between a first time offender like Kindred and a dangerous repeat offender like Gennini.

McLeod misses another chance to establish Schneider’s guilt when a victim dies in hospital. Schneider boasts that he has sensitive knowledge about McLeod, who finally explodes in anger and brutally attacks him, requiring McLeod’s commanding officer Lt. Monoghan (Horace McMahon) to escort Schneider to the hospital in an ambulance. Schneider, half-conscious, mentions the name Giacoppetti, in connection with a woman supposedly linked with McLeod.

When Schneider’s lawyer Endicott Sims (Warner Anderson) arrives to protest the incident, he inadvertently lets slip that the woman Schneider was referring to is McLeod’s wife Mary (Eleanor Parker). Monaghan has Mary brought to the station and interviews her in private. She denies any connections until Monaghan invites in Giacoppetti (Gerald Mohr), who greets her by name. The stricken Mary admits to her husband that years ago she had become pregnant by Giacoppetti. McLeod, who had been worried about her apparent infertility, cannot stomach the thought that it was caused by her abortion by Schneider, especially when Sims hints that there may have been more lovers. After McLeod accuses her of infidelity, Mary tells him he is cruel like his father was and leaves him. Suddenly, Gennini takes advantage of a distraction to steal an officer's revolver, and he fatally shoots McLeod before being disarmed. Dying, McLeod instructs his partner to release Kindred and to tell his wife he begs her forgiveness. The local paper praises McLeod for dying "in the line of duty".

Tying most of these events together is the presence of the "Shoplifter", who is ignored by the police as they do their jobs. Lee Grant, in her film debut, was nominated for Best Actress in a Supporting Role.

Cast

 * Kirk Douglas as Detective Jim McLeod
 * Eleanor Parker as Mary McLeod
 * William Bendix as Detective Lou Brody
 * Cathy O'Donnell as Susan Carmichael
 * George Macready as Dr. Karl Schneider
 * Horace McMahon as Lt. Monoghan
 * Gladys George as Miss Hatch
 * Joseph Wiseman as Charley Gennini, a burglar
 * Lee Grant as Shoplifter
 * Gerald Mohr as Tami Giacoppetti

 * Frank Faylen as Detective Gallagher
 * Craig Hill as Arthur Kindred
 * Michael Strong as Lewis Abbott
 * Luis Van Rooten as Joe Feinson
 * Bert Freed as Detective Dakis
 * Warner Anderson as Endicott Sims, lawyer
 * Grandon Rhodes as Detective O'Brien
 * William "Bill" Phillips as Detective Pat Callahan
 * Russell Evans as Patrolman Steve Barnes
 * Burt Mustin as Willy the Janitor (uncredited)

Production
Paramount bought film rights in 1949 for $285,000, plus a percentage of the profits. Alan Ladd was the first star linked to the project.

The film version omits details from the play pertaining to the criminal underworld and the dangers of a police state.

During production, the film had some trouble with the Production Code Authority. Plotlines involving the killing of police officers or references to abortion were not permitted by Production Code. Joseph Breen suggested that explicit references to abortion would be altered to "baby farming". However, when the film was released, film critics still interpreted Dr. Schneider as an illicit abortionist. Breen and William Wyler suggested to the MPAA Production Code Committee that the code be amended to allow the killing of police officers if it was absolutely necessary for the plot. They agreed, and the code was amended, lifting the previous ban on cop-killing. Another noteworthy factor regarding the passing of this film is that, at the time that this film was made, the Production Code Administration's primary concern about cop killing was in regards to "Gangster" films, in that there is conflict between the criminal and the police officer. The killing was not premeditated, which again, helped allow the Production Code Administration to pass the film.

Joseph Wiseman later played the titular role in Dr. No (1962), the first James Bond film starring Sean Connery. Gerald Mohr portrayed Doc Holliday in the television series Maverick in the 1957 episode titled "The Quick and the Dead" starring James Garner and Marie Windsor.

Critical response
When the film was released, Bosley Crowther, film critic for The New York Times, lauded the film and the casting, writing, "Sidney Kingsley's play, Detective Story, has been made into a brisk, absorbing film by Producer-Director William Wyler, with the help of a fine, responsive cast. Long on graphic demonstration of the sort of raffish traffic that flows through a squad-room of plainclothes detectives in a New York police station-house and considerably short on penetration into the lives of anyone on display... In the performance of this business, every member of the cast rates a hand, with the possible exception of Eleanor Parker as the hero's wife, and she is really not to blame. Kirk Douglas is so forceful and aggressive as the detective with a kink in his brain that the sweet and conventional distractions of Miss Parker as his wife appear quite tame. In the role of the mate of such a tiger—and of a woman who has had the troubled past that is harshly revealed in this picture—Mr. Wyler might have cast a sharper dame."

Critic James Steffen appreciated the direction of the film and the cinematography of Lee Garmes, writing "While Detective Story remains essentially a filmed play, Wyler manages to use the inherent constraints of such an approach as an artistic advantage. The confined set of the police precinct is not simply a space where various characters observe each other and interact; it also contributes to the underlying thematic thrust and ultimately to the film's emotional power. The staging of the individual scenes, which often plays on foreground-background relationships, is also augmented by Lee Garmes’ deep focus photography. (Wyler, of course, used deep focus photography extensively in the films he shot with Gregg Toland.)"

Time felt the film adaptation was better than the original play.

Home media
In a DVD review of the film, technology critic Gary W. Tooze, wrote, "Absolutely stunning image. One of the best I have seen for a black and white film this year. Superb sharpness, shadow details and contrast. Standard Paramount bare bones release with no extras and a price tag for the frugal minded. The image and price make it a must own for Noir fans and everyone else too. Wyler direction sends the film to upper tier to join the DVD."

Radio adaptation
On April 26, 1954, Detective Story was presented on Lux Radio Theatre on NBC. Douglas and Parker starred in the adaptation.

title: Detective Story (1951 film)


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Ceremonial mace

A ceremonial mace is a highly ornamented staff of metal or wood, carried before a sovereign or other high officials in civic ceremonies by a mace-bearer, intended to represent the official's authority. The mace, as used today, derives from the original mace used as a weapon. Processions often feature maces, as on parliamentary or formal academic occasions.

Ancient Near East

Ceremonial maces originated in the Ancient Near East, where they were used as symbols of rank and authority across the region during the late Stone Age, Bronze Age, and early Iron Age. Among the oldest known ceremonial maceheads are the Ancient Egyptian Scorpion Macehead and Narmer Macehead; both are elaborately engraved with royal scenes, although their precise role and symbolism are obscure. In later Mesopotamian art, the mace is more clearly associated with authority; by the Old Babylonian period the most common figure on cylinder seals (a type of seal used to authenticate clay documents) is a repeated type now known as "The Figure with Mace" who wears a royal hat, holds a mace in his left hand, and is thought to represent a generic king. Ceremonial maces are also prominently depicted in the royal art of Ancient Assyria, such as the Stela of Ashurnasirpal II and the Stela of Shamshi-Adad V, in which the Assyrian kings are shown performing rites or making religious gestures while holding a mace to symbolise their authority.

Eastern Roman Empire
Some officials of the medieval Eastern Roman Empire carried maces for either practical or ceremonial purposes. Notable among the latter is the protoallagator, a military-judicial position that existed by about the 10th century A.D. and whose symbols of office were reported by the Palaiologan writer Pseudo-Kodinos in the 14th century to include a silver-gilt mace (matzouka). At this time the duties of the protoallagator included commanding the Byzantine Emperor's personal allagion, his military retinue. The ceremonial function of the mace may have passed to the late Roman Empire from the ancient Near East by way of Persia, and from there to other European cultures.

Medieval and Renaissance Europe
The earliest ceremonial maces in France and England were practical weapons intended to protect the King's person, borne by the Sergeants-at-Arms, a royal bodyguard established in France by Philip II, and in England probably by Richard I, (c. 1180). By the 14th century, these sergeants' maces had started to become increasingly decorative, encased in precious metals. As a weapon, the mace fell out of use with the disappearance of heavy armour.

The history of the civic mace (carried by the sergeants-at-arms) begins around the middle of the 13th century, though no examples from that period remain today. The oldest civic mace in England (still remaining today) is that of Hedon. It was granted (along with an important charter) in 1415. At the time, ornamented civic maces were considered an infringement of one of the privileges of the king's sergeants, who alone deserved to bear maces enriched with costly metals, according to a House of Commons petition of 1344. However, the sergeants of London later gained this privilege, as did later those of York (1396), Norwich (1403–1404), and Chester (1506). Records exist of maces covered with silver in use at Exeter in 1387–1388; Norwich bought two in 1435, and Launceston others in 1467 and 1468. Several other cities and towns subsequently acquired silver maces, and the 16th century saw almost universal use.

Early in the 15th century, the flanged end of the mace (the head of the war mace) was carried uppermost, with the small button bearing the royal arms in the base. By the beginning of the Tudor period, however, the blade-like flanges, originally made for offence, degenerated into mere ornaments, while the increased importance of the end with the royal arms (afterwards enriched with a cresting) resulted in the reversal of the position. The custom of carrying the flanged end upward did not die out at once: a few maces, such as the Winchcombe silver maces, which date from the end of the 15th century, were made to be carried both ways. The Guildford mace provides one of the finest of the fifteen specimens of the 15th century.

Craftsmen often pierced and decorated the flanged ends of the maces of this period beautifully. These flanges gradually became smaller, and by the 16th or early 17th century had developed into pretty projecting scroll-brackets and other ornaments, which remained in vogue until about 1640. The next development in the embellishment of the shaft was the reappearance of these small scroll-brackets on the top, immediately under the head of the mace. They disappear altogether from the foot in the last half of the 17th century, and remain only under the heads, or, in rarer instances, on a knob on the shaft. The silver mace-heads were mostly plain, with a cresting of leaves or flowers in the 15th and 16th centuries. In the reign of James I of England they began to be engraved and decorated with heraldic devices and similar ornamentation.

As the custom of having sergeants' maces began to die out about 1650, the large maces borne before the mayor or bailiffs came into general use. Thomas Maundy functioned as the chief maker of maces during the Commonwealth of England. He made the mace for the House of Commons in 1649. This mace is still in use today, though without the original head. The original head, which was not engraved with regal symbols, was replaced by one with regal symbols at the time of the Restoration of the monarchy. Oliver Cromwell referred to the House of Commons mace as "a fool's bauble" when he dissolved the Rump Parliament in 1653.

Commonwealth
Most Commonwealth countries were formerly part of the British Empire and continue the tradition of using a mace, especially to represent the authority of the Sovereign in the parliaments of the Commonwealth realms.

United Kingdom

In the United Kingdom there are thirteen surviving royal maces in the Crown Jewels, ten of which are kept in the Jewel House at the Tower of London, while three are on permanent loan to the Houses of Parliament. Each mace is about 1.5 m long and weighs an average of 10 kg. The House of Commons can only operate lawfully when the royal mace – dating from the reign of Charles II – is present at the table. Two other maces dating from the reigns of Charles II and William III are used by the House of Lords: One is placed on the Woolsack before the House meets and is absent when a monarch is there in person. Two maces from the Jewel House are carried in the royal procession at State Openings of Parliament and British coronations. The Scottish Parliament and the Senedd (Welsh Parliament) have their own maces, as do local councils, mayors, and some universities.

Australia
The ceremonial maces of the Australian House of Representatives and the Australian Senate symbolise both the authority of each chamber and the royal authority of Australia's monarch.

Senate
The ceremonial mace of the Australian Senate is the Black Rod. The ceremonial custodian of the Black Rod is the Usher of the Black Rod.

House of Representatives
The Serjeant-at-Arms of the Australian House of Representatives is the ceremonial custodian of the Mace of the House. At the beginning and end of every day the House sits, the Speaker of the House enters and leaves the House preceded by the Serjeant-at-Arms carrying the mace on his or her right shoulder. The mace represents the authority of the monarch, the speaker and the house itself and is usually taken with the speaker on ceremonial occasions. However, in the presence of the governor-general the mace is generally left outside and covered with a green cloth on the understanding that a symbol of royal authority is not needed where the Crown’s actual representative is present.

The current mace is made of gilded silver, and was a gift to the House from King George VI on the occasion of the 50th anniversary of Federation in 1951. It was presented to the House by a delegation of members of the British House of Commons.

In May 1914, Labor MP William Higgs played a practical joke on the House by hiding the mace under one of the opposition frontbenches. It was not found for two hours, and police were called in as it was assumed to have been stolen. After initially denying his role in the incident, Higgs apologised to his colleagues the following week, stating he had acted in "a spirit of frivolity". His admission that he was "entirely to blame" was met with cheers.

Queensland Parliament
A silver-gilt mace was produced for the Queensland Parliament in 1978 by Marples and Beasley of Birmingham, United Kingdom. It is 1.22 m long and weighs 7.7 kg. The mace is inlaid with 15 sapphires, 9 opals, 6 amethysts and 2 garnets, all originating from the state of Queensland.

Bahamas
The ceremonial maces in the Bahamas symbolise both the authority of each chamber and the Royal authority of Charles III, the King of the Bahamas.

On 27 April 1965, a day known in the Bahamas as "Black Tuesday", Lynden Pindling, then Opposition Leader, threw the 165-year-old Speaker's Mace out of a House of Assembly window to protest against the unfair gerrymandering of constituency boundaries by the then ruling United Bahamian Party (UBP) government. The Speaker tried to restore order but he was reminded by Labour leader Randol Fawkes that the business of the House could not legally continue without the mace. The badly damaged mace was recovered by the police and returned to the House.

The House of Assembly reconvened with a temporary wooden mace loaned by Canada; this was the same temporary mace used by the House of Commons of Canada after it lost its own mace to a fire in 1916. The temporary mace ultimately returned to Canada freshly gilded. In November 1975, the House of Commons of the United Kingdom donated a new mace to the House of Assembly.

On 3 December 2001, Cassius Stuart and Omar Smith, leader and deputy leader of the Bahamas Democratic Movement, a minor political party, charged from the public gallery onto the floor of the House of Assembly and handcuffed themselves to the Mace in protest against "unfair gerrymandering" of constituency boundaries by the Free National Movement (FNM) government. The Mace was unable to be separated from the men and the sitting of the House had to be suspended. The pair were jailed for almost two days but no charges were brought against them.

Canada

The ceremonial maces in the Canadian Senate and House of Commons embody the authority each chamber derives from the country's sovereign. The current mace in the Commons is the fourth mace, a replica of the third one destroyed by fire at the Centre Block in 1916.

A similar practice is employed in each of the provincial and territorial legislatures, with a mace representing the sovereign's authority and power in each of the respective legislatures.

Protocol surrounding the mace
In Canada, each of the legislatures follow a relatively standard protocol in relation to the ceremonial mace; the speaker of the house normally enters following a mace-bearer (normally the sergeant-at-arms), who subsequently sets the mace on the clerks' table to begin the sitting. When the sergeant-at-arms removes the mace from the table, the House has either adjourned, recessed, or been resolved into a committee of the whole. Before the reigning monarch or one of his or her representatives (the governor general or one of the lieutenant governors) may enter a legislative chamber, the mace must be completely hidden from view. This is done by draping the mace in a heavy velvet cloth, a procedure performed by the house pages. During the election of the speaker, the mace is removed from the table to show that the house is not fully constituted until the new speaker takes the chair and the mace is laid on the table.

History of the maces

The oldest documented use of a ceremonial mace in a legislature of a British North American colony was at the 1st General Assembly of Nova Scotia, which convened in 1758. The first mace was used by the Chamber of Upper Canada's first Parliament in 1792 at Newark (now Niagara-on-the-Lake) and then moved to York (now Toronto). This first mace was a primitive wooden implement, painted red and gilt and surmounted by a crown of thin brass strips. It was stolen by American troops as a prize of war during the Battle of York of the War of 1812 in 1813. The mace was stored at the United States Naval Academy in Annapolis, Maryland, and remained in the United States until 1934. It was returned to Ontario when President Franklin Roosevelt sent an order to Congress to return the mace. It was stored at the Royal Ontario Museum for a time, and is now located in the Main Lobby of the Ontario Legislative Building.

A second mace was introduced in 1813 and used until 1841.

The third mace was not purchased until 1845. In 1849, when the Parliament for the United Province of Canada was sitting in Montreal, it was stolen by a riotous mob, apparently intent upon destroying it in a public demonstration. It was rescued and returned to the Speaker, Sir Allan MacNab, the next day. Later, in 1854, the mace was twice rescued when the Parliament Buildings in Quebec were ravaged by fire. The mace continued to be used by the Legislative Assembly in Toronto, Quebec City and Ottawa until Confederation in 1867. The new House of Commons of Canada then adopted the mace, where it remained until 1916. The mace of the House of Commons was destroyed when the Centre Block burned down in 1916; all that remained was a fist-sized ball of silver and gold. In the immediate aftermath, the House of Commons used the surviving Senate mace, then the mace of the Ontario provincial legislature for three weeks, after which a wooden mace (later loaned to the Bahamas) was crafted and used. In June 1916, the City of London donated a new mace made with the remains of the one destroyed; this mace continues to serve.

Being a symbol of the power and authority of a legislative assembly, a precedent was set in 2002 as to the severity of acts of disrespect toward the mace in Canada and, by proxy, the monarch. After Keith Martin, federal Member of Parliament for Esquimalt—Juan de Fuca, seized the ceremonial mace of the House of Commons from the clerk's table on April 17, 2002, the speaker of that chamber ruled that a prima facie breach of the privileges of the house had occurred, and contempt of the house been committed. Martin was not permitted to resume his seat until he had issued a formal apology from the bar of the house, pursuant to a motion passed in response to the incident.

Parliament of Ontario

The ceremonial mace of the Legislative Assembly is the fourth mace to be used in Upper Canada or Ontario. The first, second and third maces are mentioned above, and were used by the Parliament of Upper Canada and Union Parliament. Only the first survived with second unaccounted and third mostly destroyed in 1916 with remains used to produce the current House of Commons' mace.

After Confederation, the third mace was adopted by the new House of Commons of Canada. The current mace used in the Legislative Assembly was acquired in 1867. It was provided by Charles E. Zollikofer of Ottawa for $200. The 4 ft mace is made of copper and richly gilded, a flattened ball at the butt end. Initially, the head of the mace bore the crown of Queen Victoria and in a cup with her monogram, V.R. When she was succeeded by Edward VII in 1901, her crown and cup were removed and a new one bearing Edward's initials on the cup was installed. Eventually, it was replaced with the current cup which is adorned in gleaming brass leaves.

Through some careful detective work on the part of Legislative Assembly staff, the original cup with Queen Victoria's monogram was recently found in the Royal Ontario Museum's collection and returned to the Legislature. It is now on display in the Legislative Building.

In 2009, two diamonds were installed in the mace. The diamonds were a gift to the people of Ontario from De Beers Canada to mark the opening of the Victor Mine near Attawapiskat First Nation in northern Ontario. Three diamonds were selected from the first run of the mine. Two stones, one rough and one polished, were set in platinum in the crown of the mace while the third stone, also polished, was put on exhibit in the lobby of the Legislative Building as part of a display about the history of the mace.

Parliament of Quebec
The ceremonial mace of the National Assembly was made by Charles O. Zollikoffer in 1867, after the transfer of the maces of the Province of Canada to the new federal parliament in Ottawa. The current mace is of gold with a crown and a cross on its top as well as the letters "ER" (Elizabeth Regina) - added after 1952.

The mace was saved from a fire by Sergeant-at-Arms Gédéon Larocque in 1883 as well as recovered after being stolen in 1967.

Cook Islands
In 2023, the parliament of the Cook Islands adopted a ceremonial double-ended mace (Te Taiki Mana) in the form of a canoe paddle (ʻoe), inspired by the combination of traditional forms used in both the northern and southern Cook Islands, on one side and a spear (momore ʻakatara) on the other, with the emblem of the Cook Islands parliament in the middle. The mace was designed by Tangata Vainerere, the clerk of the Cook Islands parliament, and carved by Wireless Tomokino. It is 1.45 metres long, carved from polynesian mahogany, and covered with traditional tattoo motifs.

During sittings of the parliament it is placed by the Sergeant-at-Arms in the parliamentary chamber with the paddle end pointing toward the government benches, and the spear end pointed toward the opposition.

Fiji
On 10 October 1874, Fiji's former king, Seru Epenisa Cakobau, gave his war club to Queen Victoria when the Deed of Cession by which the sovereignty of Fiji passed to the British Crown was signed, and the war club was taken to Britain and kept at Windsor Castle. In October 1932, King Cakobau's war club was repatriated to Fiji, on behalf of the British king George V, for use as the ceremonial mace of the Legislative Council of Fiji.

The mace is a gadi, a traditional Fijian club named for the type of hardwood tree it is made from, and was decorated with silver palm leaves and doves upon Cakobau's conversion to Christianity. Cakobau gave the club the name Ai Tutuvi Kuta I Radini Bau, meaning "The sedge blanket of the Queen of Bau (wife of the Roko Tui Bau)".

The mace is used as a symbol of the authority of the Speaker of the Parliament of Fiji. It is carried into parliament by the mace bearer, and is always placed on the central table of the debating chamber with the head pointing toward the government benches.

An image of the mace is used on the emblem of the Fijian parliament.

Guyana
The National Assembly, the sole chamber of the Parliament of Guyana, has a ceremonial mace. In March 1991, Isahak Basir, a member of the People's Progressive Party (in opposition at the time), was expelled from parliament for removing the mace from its place on the table, and also for throwing his drinking glass at the Speaker.

India
Sengol is a gold-plated silver sceptre that is installed in India's New Parliament House. Originally gifted to Jawaharlal Nehru, the first prime minister of India, by a delegation of holy men on 14 August 1947, the sceptre was housed in the Allahabad Museum for seven decades. In 2023, the sceptre was moved to the newly-constructed Parliament House by the government of Narendra Modi, who propagated an ahistorical narrative by claiming the Sengol as a symbol of the transfer of power from the British regime unto Indians.

The legislative bodies of several states, such as Tripura, also have ceremonial maces. The courts of various Indian princely states were recorded as having ceremonial maces too.

New Zealand
A ceremonial mace for the New Zealand House of Representatives has been used since 1866, when one was presented to Parliament by former Speaker Sir Charles Clifford. The mace is considered to be a symbol of the authority of both the Speaker and of the House, and is carried by the Serjeant-at-Arms.

The first mace was destroyed on 11 December 1907 when a fire consumed most of Parliament Buildings. A wooden mace made of pūriri and designed by the Government Architect was temporarily used until a new mace was gifted by then Prime Minister Joseph Ward in 1909 at the prompting of Speaker Arthur Guinness. This mace is the one currently in use.

The present mace is modeled on that of the House of Commons of the United Kingdom, differing only in that one of the panels instead depicts the Southern Cross and the initials "NZ". The mace is 1.498 metres long, made of sterling silver coated with 18 carat gilt gold and weighs 8.164 kilograms.

Wellington
The capital city of Wellington also possesses a silver-gilt ceremonial mace, gifted to it by its sister city of Harrogate in 1954, which is used during meetings of the Wellington City Council and on ceremonial occasions.

Singapore
The Parliament of Singapore has a mace which had been originally commissioned in 1954 by Governor John Nicoll for the Legislative Council of Singapore.

The mace head is a winged lion holding a trident. Just below the mace head, on the shaft of the mace are the crest of the coat of arms of the Colony of Singapore and the crest of Coat of arms of the United Kingdom, on opposite sides. The rest of the shaft is embossed with lion heads and Chinese junks, and the bottom of the shaft is decorated with waves and fish. The base of the mace depicts a gryphon's head above a crown, the crest of the coat of arms of Stamford Raffles. An image of the mace appears on the crest of Singapore's parliament.

South Africa
As a Dominion of the British Empire, the Union of South Africa House of Assembly used a mace modelled on that of the UK House of Commons from 1910 to 1961.

When South Africa became a republic outside the Commonwealth in 1961, a Stinkwood mace was used temporarily until 1963 when the Gold Producers' Committee of the Transvaal and Orange Free State Chamber of Mines gifted a mace to the chamber.

In 2004 a new mace was designed to reflect the history, tradition, diversity, culture and languages of South Africa. Based on an aluminium shaft with a gold drum featuring images of working South Africans, the mace remains in use today as the symbol of the authority of the National Assembly of South Africa.

Sri Lanka
The ceremonial jeweled mace, symbolizing the authority of the Parliament of Sri Lanka, is kept in the custody of the Serjeant-at-Arms. The mace, when kept on its stand in the Chamber, signifies that the House is in session. At the commencement of a Session, the Serjeant-at-Arms bearing the mace accompanies the Speaker when entering and leaving the Chamber. The mace has to be legally brought into the House at the appointed time and removed at the end of the Session. Therefore, unauthorized removal of the mace cannot invalidate proceedings.

Other maces with Connection to the British monarch
There are two maces in Jamaica, made in 1753 and 1787; one belonging to the colony of Grenada, made in 1791, and the speaker's mace at Barbados, dating from 1812.

Mace of former Parliament of Ireland
A mace made in 1765 for the Irish House of Commons is 58 in long and weighs 295 oz and became redundant in 1801 with the creation of the United Kingdom of Great Britain and Ireland. In 1937, the Bank of Ireland bought the mace from the descendants of John Foster, its last Speaker, the House having ceased to exist upon the Acts of Union 1800. The bank paid IR£3,100 for the mace at a Christie's auction. In 2015, it represented Ireland at the 800th anniversary of the Lord Mayor's Show in the City of London.

The Great Mace of Dublin
The Great Mace of Dublin is used at major civic and ceremonial events alongside the Great Sword, such as when the Lord Mayor awards the honorary Freedom of the city. It was made in 1717 and contains parts of an earlier mace made for the city's first Lord Mayor, Sir Daniel Bellingham.

Academic maces
The ceremonial mace of Trinity College Dublin was still in use in 2021, and University College Cork also has a mace and a mace-bearer.

Myanmar (Burma)
A ceremonial mace was an essential item of the regalia of Myanmar's legislative bodies during the British colonial period. It kept its significance and symbolism in the early post-independence legislatures. Parliamentary democracy ceased in 1962, but when the regime of General Ne Win revived a one-party unicameral legislature in 1974, the mace-bearing ceremonial was abandoned. It was re-introduced in the new parliament, or Pyidaungsu Hluttaw, convened under the 2008 National Constitution.

The Philippines
The House of Representatives and the Senate of the Philippines each have a respective mace. The maces are almost identical.

The mace of the House of Representatives serves as a symbol of authority and in the custody of the Sergeant-at-Arms. It serves as a guarantee for the Sergeant-at-Arms in enforcing peace and order in the House upon the Speaker's instruction. Upon every session, the mace is placed at the foot of the Speaker's rostrum. The mace is topped by the official seal of the House of Representatives.

The mace of the Senate serves as a symbol of authority. It is displayed at the Senate President's rostrum every session. As with the House of Representatives, the Sergeant-at-Arms also serves as the custodian of the mace. When there is disorderly conduct in the Senate, the Sergeant-at-Arms brings the mace from its pedestal and presents it to the senators causing the disorder, a signal to stop such behavior. The official seal of the Senate tops the mace.

Provincial boards, city and municipal councils also have their own mace.

The constitutional body Commission on Appointments also uses their own mace during their plenary sessions.

The United States

The civic maces of the 18th century follow the British type with monarchical imagery, with some modifications in shape and ornamentation, while later maces incorporated either republican or imperial Roman imagery.

The current Mace of the United States House of Representatives has been in use since December 1, 1842. It was created by William Adams at a cost of $400 to replace the first mace, which was destroyed on August 24, 1814, when the Capitol was destroyed in the burning of Washington by the British during the War of 1812. A simple wooden mace was used in the interim.

The current mace is nearly four feet tall and is composed of 13 ebony rods tied together with silver strands criss-crossed over the length of the staff. This design shows the staff with the appearance of a bundled fasces, sans ax, symbolizing unity, the rods representing the 13 original States. It is surmounted by a globus, symbolising dominion, and above that the American eagle with outstretched wings.

When the House is in session, the mace stands in a cylindrical pedestal of green marble to the right of the chair of the Speaker of the House. When the House is meeting as the Committee of the Whole, the mace is moved to a pedestal next to the desk of the Sergeant at Arms. Thus Representatives entering the chamber know with a glance whether the House is in session or in committee.

In accordance with the Rules of the House, when a member becomes unruly the sergeant-at-arms, on order of the speaker, lifts the mace from its pedestal and presents it before the offenders, thereby restoring order. This occurs very rarely.

Other, examples of English silver maces in North America include one dating to 1754 at Norfolk, Virginia, and the mace of the state of South Carolina, dating to 1756, which has monarchical imagery. The Maryland House of Delegates also has a very old ceremonial mace, although it is the plainest of all, having no ornamentation save some carved vegetation designs at its head. The Mace of the Virginia House of Delegates also has monarchical motifs, though it was not created until the 1970s.

Bands

Drum majors carry a mace to convey commands or signals to their band. According to the Royal Scottish Pipe Band Association, "Drum Major’s maces have been in existence since the 17th century".

Churches
Among other maces (more correctly described as staves) in use today are those carried before ecclesiastical dignitaries and clergy in cathedrals and some parish churches. Other churches, particularly churches of the Anglican Communion, a verger ceremoniously precedes processions.

In the Roman Catholic Church maces used to be carried before Popes and Cardinals. They have long since been replaced with processional crosses.

Universities
Ceremonial maces, symbols of the internal authority over members and the independence from external authority, are still used at many educational institutions, particularly universities. The University of St Andrews in Scotland has three maces dating from the 15th century. The university also has four other maces of a more recent origin. These are on permanent display at the Museum of the University of St Andrews. The University of Glasgow has one from the same period, which may be seen in its arms. University of Innsbruck and its sister Medical University are in possession of maces from 1572, 1588 and 1833, which were confiscated by the Habsburgs from the University of Olomouc in the 1850s.

At the University of Oxford there are three dating from the second half of the 16th century and six from 1723 and 1724, while at the University of Cambridge there are three from 1626 and one from 1628. The latter was altered during the Commonwealth of England and again at the Stuart Restoration. The mace of the general council of the University of Edinburgh has a three-sided head: one with the seal of the university; one with the university's coat of arms and the third with Edinburgh's coat of arms of the City of Edinburgh. The wood for the shaft of the mace is from Malabar and was presented by the Secretary of State for India (R. A. Cross) at the First International Forestry Exhibition (1884). The mace of the Open University reflects its modernist outlook, being made from titanium.

In the United States, almost all universities and free-standing colleges have a mace, used almost exclusively at commencement exercises and borne variously by the university or college president, chancellor, rector, provost, the marshal of the faculty, a dean or some other high official. In those universities that have a number of constituent colleges or faculties, each college, faculty or school often has a smaller mace, borne in procession by a dean, faculty member or sometimes a privileged student. In 1970, Cornell professor Morris Bishop was acting as marshal at a graduation ceremony when a radical student attempted to grab the microphone; Bishop fought him off with the mace.

In Canada, some universities have a mace that is used as part of the ceremonial process of conferring degrees during convocation and other special events. The mace is carried by a special university official like a beadle.

In South Korea, Pohang University of Science and Technology has a mace as a part of its ceremonial functions.

In the Philippines, the University of Santo Tomas has a pair of twin maces belonging to the Rector Magnificus. These symbolize his spiritual and temporal power as the highest authority of the university. Made of pure silver and measuring 95 centimeters by 15 centimeters in diameter, the maces have existed since the 17th century and have been used in academic processions ever since. Candidates for doctoral degrees were accompanied by the Rector in a parade called Paseo de los Doctores from Intramuros to Santo Domingo Church, where University commencement exercises were held until the 17th century. Today, faculty members hold processions at the opening of each academic year and during solemn investitures in academic gowns, following the style of Spanish academic regalia. The maces, carried by beadles or macebearers, were included in the parade for their academic symbolism.

Other maces

 * The mace of the Cork guilds, made by Robert Goble of Cork in 1696 for the associated guilds of which he had been master, is in the Victoria and Albert Museum. The museum also has a large silver mace dating to the middle of the 18th century, with the arms of Pope Benedict XIV. This mace is said to have been used at the coronation of Napoleon as King of the Napoleonic Kingdom of Italy at Milan in 1805.
 * The Judiciary of Hong Kong opens its legal year with a silver ceremonial mace carried by the mace bearer and used since the early 20th century with the butt end replaced with the emblem of the SAR in 1997. All of the court's maces (pre and post Handover) are held in the Exhibition Gallery.
 * Hetmans of Ukrainian Cossacks also had a ceremonial mace, called a bulava.

title: Ceremonial mace


text:
Gild

Gild may refer to:
 * Gilding, the application of gold leaf to other material
 * Guild, an association of craftsmen

title: Gild


text:
Shelley Winters

Shelley Winters (born Shirley Schrift; August 18, 1920 – January 14, 2006) was an American film actress whose career spanned seven decades. She won Academy Awards for The Diary of Anne Frank (1959) and A Patch of Blue (1965), and received nominations for A Place in the Sun (1951) and The Poseidon Adventure (1972). She also appeared in A Double Life (1947), The Night of the Hunter (1955), Lolita (1962), Alfie (1966), Next Stop, Greenwich Village (1976), and Pete's Dragon (1977). She also acted on television, including a tenure on the sitcom Roseanne, and wrote three autobiographies.

Early life
Shelley Winters was born Shirley Schrift in St. Louis, Missouri, the daughter of Rose (née Winter), a singer with St. Louis Municipal Opera Theatre ("The Muny"), and Jonas Schrift, a designer of men's clothing. Her parents were Jewish; her father migrated from Grymalow, Galicia, Austria-Hungary, in what is now Ukraine, and her mother was born in St. Louis to Austrian immigrants who were also from Grymalow. Her parents were third cousins. Her Jewish education included attendance at the Jamaica Jewish Center and learning Hebrew songs at her public school. Her family moved to Brooklyn, New York, when she was nine years old, and she grew up partly in Queens, New York, as well. As a young woman, she worked as a model. Her sister Blanche Schrift later married George Boroff, who ran the Circle Theatre (now named El Centro Theatre) in Los Angeles, California. At age 16, Winters relocated to Los Angeles, and later returned to New York to study acting at The New School.

1940–1946: Broadway debut and early films
Winters made her Broadway debut in The Night Before Christmas (1941) which had a short run. She had a small part in Rosalinda, an adaptation of Die Fledermaus (1942–44) which ran for 611 performances. Winters first received acclaim when she joined the cast of Oklahoma! as Ado Annie.

She received a long-term contract at Columbia and moved to Los Angeles. Winters' first film appearance was an uncredited bit in There's Something About a Soldier (1943) at Columbia. She had another small bit in What a Woman! (1943) but a bigger part in a B movie, Sailor's Holiday (1944). Winters was borrowed by the Producers Releasing Corporation for Knickerbocker Holiday (1944). Columbia put her in small bits in She's a Soldier Too (1944), Dancing in Manhattan (1944), Together Again (1944), Tonight and Every Night (1945), Escape in the Fog (1945), A Thousand and One Nights (1945), and The Fighting Guardsman (1946). Winters had bit parts in MGM's Two Smart People (1946), and a series of films for United Artists: Susie Steps Out (1946), Abie's Irish Rose (1946) and New Orleans (1947). She had bit parts in Living in a Big Way (1947) and Killer McCoy (1947) at MGM, The Gangster (1947) for King Brothers Productions and Red River (1948). She played Brenda Martingale in Siodmak's Cry of the City.

1947–1954: Breakthrough and acclaim
Winters first achieved stardom with her breakout performance as the victim of insane actor Ronald Colman in George Cukor's A Double Life (1947). It was distributed by Universal which signed Winters to a long-term contract. She had a supporting role in Larceny (1948) then 20th Century Fox borrowed her for Cry of the City (1948). Winters was second-billed in Johnny Stool Pigeon (1949) with Howard Duff, and Take One False Step (1949) with William Powell. Paramount borrowed her to play Myrtle in The Great Gatsby (1949) with Alan Ladd. Back at Universal she was in Winchester 73 (1950), opposite James Stewart, a huge hit. Universal gave Winters top billing in South Sea Sinner (1950). She co starred with Joel McCrea in Frenchie (1950).

Winters originally broke into Hollywood films as a Blonde Bombshell type, but quickly tired of the role's limitations. She claims to have washed off her make-up to audition for the role of Alice Tripp, the factory girl, in A Place in the Sun, directed by George Stevens, now a landmark American film. As the Associated Press reported, the general public was unaware of how serious a craftswoman Winters was. "Although she was in demand as a character actress, Winters continued to study her craft. She attended Charles Laughton's Shakespeare classes and worked at the Actors Studio, both as student and teacher." She studied in the Hollywood Studio Club, and in the late 1940s, she shared an apartment with Marilyn Monroe. Her performance in A Place in the Sun (1951), a departure from the sexpot image that her studio, Universal Pictures, was grooming her for at the time, brought Winters her first acclaim, earning her a nomination for the Academy Award for Best Actress. Winters went to United Artists for He Ran All the Way (1951) with John Garfield and RKO for Behave Yourself! (1951) with Farley Granger. Winters was top-billed in The Raging Tide (1951) at Universal. She was loaned to 20th Century Fox for Phone Call from a Stranger (1952), with Bette Davis.

At Universal she did Meet Danny Wilson (1952) with Frank Sinatra and Untamed Frontier (1952) with Joseph Cotten. She went to MGM for My Man and I (1952) with Ricardo Montalbán. She performed in A Streetcar Named Desire on stage in Los Angeles. Winters took off some time for the birth of her first child in 1953. She made her TV debut in "Mantrap" for The Ford Television Theatre in 1954. At MGM, she did Executive Suite (1954) and Tennessee Champ (1954), top-billed in the latter. Winters returned to Universal to appear in Saskatchewan (1954), shot on location in Canada with Alan Ladd and Playgirl (1954) with Barry Sullivan. She appeared in a TV version of Sorry, Wrong Number.

Winters travelled to Europe to make Mambo (1954) with Vittorio Gassman who became her husband. She then shot Cash on Delivery (1954) in England. Winters performed in a version of The Women for Producers' Showcase then had a key role in I Am a Camera (1955) starring opposite Julie Harris and Laurence Harvey. Even more highly acclaimed was Charles Laughton's 1955 Night of the Hunter with Robert Mitchum and Lillian Gish. At Warner Bros, Winters was Jack Palance's leading lady in I Died a Thousand Times (1955), then for RKO she co starred with Rory Calhoun in The Treasure of Pancho Villa (1955). She was in The Big Knife (1955) for Robert Aldrich.

1955–1969: Establishment
Winters returned to Broadway in A Hatful of Rain, in 1955–1956, opposite Ben Gazzara and future husband Anthony Franciosa. It ran for 398 performances. Girls of Summer (1956–57) was directed by Jack Garfein and co-starred George Peppard but only ran for 56 performances. On TV she reprised her Double Life performance in The Alcoa Hour in 1957. She appeared in episodes of The United States Steel Hour, Climax!, Wagon Train, Schlitz Playhouse, The DuPont Show of the Month, and Kraft Theatre.

In 1960, she won a Best Supporting Actress Oscar for her role as Mrs. Van Daan in George Stevens' film adaptation of The Diary of Anne Frank (1959). She donated her award statuette to the Anne Frank House in Amsterdam. Winters was in much demand as a character actor now, getting good roles in Odds Against Tomorrow (1959), Let No Man Write My Epitaph (1960) and The Young Savages (1961). She received excellent reviews for her performance as the man-hungry Charlotte Haze in Stanley Kubrick's Lolita (1962).

Winters returned to Broadway on The Night of the Iguana (1962), playing Bette Davis's role. She performed Off Broadway in Cages by Lewis John Carlino in 1963. Many of her roles now had a sexual component: in The Chapman Report (1962) she played an unfaithful housewife and she played madams in The Balcony (1963) and A House Is Not a Home (1964). She appeared in Wives and Lovers (1963) and episodes of shows such as Alcoa Theatre, Ben Casey, and Thirty-Minute Theatre. Winters was featured in the Italian film Time of Indifference (1964) with Rod Steiger and Claudia Cardinale, and had one of the many cameos in the religious epic The Greatest Story Ever Told (1965), again for George Stevens.

Winters won her second Best Supporting Actress Oscar in A Patch of Blue (1965) for her performance as Rose-Ann D'Arcey, the cruel and vulgar mother of an illiterate, blind girl. She had supporting roles opposite Michael Caine in Alfie (1966) and as the fading, alcoholic former starlet Fay Estabrook in Harper (1966). She returned to Broadway in Under the Weather (1966) by Saul Bellow which ran for 12 performances. Winters played "Ma Parker" the villain in Batman. She was in a TV version of The Three Sisters (1966) and had roles in Enter Laughing (1967) for Carl Reiner, Armchair Theatre, Bob Hope Presents the Chrysler Theatre (several episodes), The Scalphunters (1968) for Sydney Pollack, Wild in the Streets (1968), Buona Sera, Mrs. Campbell (1968), Arthur? Arthur! (1969), and The Mad Room (1969).

1970–1995: Later roles
Winters played Ma Barker in Bloody Mama (1970) a big hit for Roger Corman. She had roles in How Do I Love Thee? (1970) and Flap (1970) for Carol Reed. She returned to the stage to play Minnie Marx, mother of the Marx Brothers in the Broadway musical Minnie's Boys (1970), which ran for 80 performances. Winters wrote an evening of three one act plays titled One Night Stands of a Noisy Passenger (1970–1971), which ran for seven performances; the cast included Robert De Niro and Diane Ladd. Winters had the lead in two horror films, Whoever Slew Auntie Roo? (1971), and What's the Matter with Helen? (1971), and two TV movies, Revenge! (1971), and A Death of Innocence (1971). She had supporting roles in Adventures of Nick Carter (1972) and had a coleading role in Something to Hide (1972) with Peter Finch. She starred in The Vamp for ITV Sunday Night Theatre. In The Poseidon Adventure (1972), she was the ill-fated Belle Rosen (for which she received her final Oscar nomination). She put on weight for the role and never got rid of it.

Winters was top-billed in The Devil's Daughter (1973) for TV. She had a supporting role in Blume in Love (1973) for Paul Mazursky and Cleopatra Jones (1973) and leading parts in Big Rose: Double Trouble (1974) and The Sex Symbol (1974). Winters guest-starred on McCloud and Chico and the Man and was seen in Poor Pretty Eddie (1975), That Lucky Touch (1975), Journey Into Fear (1975), Diamonds (1975), Next Stop, Greenwich Village (1976) for Paul Mazursky, The Tenant (1976) for Roman Polanski, Mimì Bluette... fiore del mio giardino (1977) with Monica Vitti, Tentacles (1977), An Average Little Man (1977) with Alberto Sordi, Pete's Dragon (1977), The Initiation of Sarah (1978), and King of the Gypsies (1978). She starred in a 1978 Broadway production of Paul Zindel's The Effect of Gamma Rays on Man-in-the-Moon Marigolds, which only had a short run. Winters starred in the Italian horror film Gran bollito (1977) and played Gladys Presley in Elvis (1979) for TV. She was in The Visitor (1979), City on Fire (1979), The Magician of Lublin (1979) for Menahem Golan, The French Atlantic Affair (1979) and an episode of the ABC series Vega$, with Vega$ star Robert Urich. In 1980, Winters published the best-selling autobiography Shelley: Also Known As Shirley She followed it up in 1989 with a second memoir, Shelley II: The Middle of My Century.

Winters' 1980s performances included Looping (1981), S.O.B., episodes of The Love Boat, Sex, Lies and Renaissance (1983), Over the Brooklyn Bridge (1984), Ellie (1984), Déjà Vu (1985), Alice in Wonderland (1985), and The Delta Force (1986). She did The Gingerbread Lady on stage. She had a starring role in Witchfire (1986) and was credited as executive producer. She was in Very Close Quarters (1986), Purple People Eater (1988), and An Unremarkable Life (1989).

Her final performances included Touch of a Stranger (1990), Stepping Out (1991) with Liza Minnelli, Weep No More, My Lady (1992), The Pickle (1993) for Mazursky, and The Silence of the Hams (1994). Later audiences knew her primarily for her autobiographies and for her television work, in which she usually played a humorous parody of her public persona. In a recurring role in the 1990s, Winters played the title character's grandmother on the sitcom Roseanne. Her final film roles were supporting ones: She played a restaurant owner and mother of an overweight cook in Heavy (1995) with Liv Tyler and Debbie Harry for James Mangold; an aristocrat in The Portrait of a Lady (1996), starring Nicole Kidman and John Malkovich; and an embittered nursing home administrator in 1999's Gideon. She was in comedies such as Backfire! (1995), Jury Duty (1995), and Mrs. Munck (1995) as well as Raging Angels (1995). Winters made an appearance at the 1998 Academy Awards telecast, which featured a tribute to Oscar winners past and present.

The Associated Press reported: "During her 50 years as a widely known personality, Winters was rarely out of the news. Her stormy marriages, her romances with famous stars, her forays into politics and feminist causes kept her name before the public. She delighted in giving provocative interviews and seemed to have an opinion on everything." That led to a second career as a writer. Though not a conventional beauty, she claimed that her acting, wit, and chutzpah gave her a sex life to rival Monroe's. Her claimed partners included William Holden, Sean Connery, Burt Lancaster, Errol Flynn, and Marlon Brando.

Personal life

Winters was married four times. Her husbands were:
 * Captain Mack Paul Mayer, whom she married on December 29, 1943, in Brooklyn. Winters and Mayer were divorced in October 1948. Mayer was unable to deal with Shelley's "Hollywood lifestyle" and wanted a "traditional homemaker" for a wife. Mayer wore his wedding ring up until her death, and kept their relationship very private.
 * Vittorio Gassman, whom she married on April 28, 1952, in Juárez, Mexico; they divorced on June 2, 1954. They had one child: Vittoria, born February 14, 1953, a physician who practices internal medicine at Norwalk Hospital in Norwalk, Connecticut. She was Winters' only child.
 * Anthony Franciosa, whom she married on May 4, 1957; they divorced on November 18, 1960.
 * Gerry DeFord, whom she married on January 13, 2006.

Hours before her death, Winters married long-time companion Gerry DeFord, with whom she had lived for 19 years. Though Winters' daughter objected to the marriage, the actress Sally Kirkland performed the wedding ceremony for the two at Winters' deathbed. Kirkland, a minister of the Movement of Spiritual Inner Awareness, also performed Winters's non-denominational last rites.

Winters had a much-publicized romance with Farley Granger that became a long-term friendship (according to their respective autobiographies). She starred with him in the 1951 film Behave Yourself! as well as in a 1957 television production of A. J. Cronin's novel Beyond This Place.

Winters was a Democrat and attended the 1960 Democratic National Convention. In 1965, she addressed the Selma Marchers briefly outside Montgomery, Alabama on the night before they marched into the state capitol. Winters endorsed Robert F. Kennedy's presidential campaign in 1968.

Winters became friendly with rock singer Janis Joplin shortly before Joplin died in 1970. She invited Joplin to sit in on a class session at the Actors' Studio at its Los Angeles location. Joplin never did.

Death
Winters died at the age of 85 on January 14, 2006, of heart failure at the Rehabilitation Center of Beverly Hills; she had suffered a heart attack on October 14, 2005. She is interred at Hillside Memorial Park Cemetery in Culver City, California.

Theater
Summer Stock plays • The Taming of the Shrew (1947)

• Born Yesterday (1950)

• Wedding Breakfast (1955)

• A Piece of Blue Sky (1959)

• Two for the Seasaw (1960)

• The Country Girl (1961)

• A View from the Bridge (1961)

• Days of the Dancing (1964)

• Who's Afraid of Virginia Woolf? (1965)

• 84 Charing Cross Road (1983)

Awards and nominations
Academy Awards

British Academy Film Awards

Golden Globe Awards

Primetime Emmy Awards

title: Shelley Winters