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The Blue Veil (1951 film)

The Blue Veil is a 1951 American historical drama film directed by Curtis Bernhardt and starring Jane Wyman, Charles Laughton and Joan Blondell. It tells the story of a woman who spends her life caring for other people’s children, beginning just after World War I. The title refers to the headdresses once worn by governesses and nannies, colored blue to distinguish them from the white veils worn by medical nurses. The screenplay by Norman Corwin is based on a story by François Campaux, adapted for the French-language film Le Voile Bleu in 1942.

Plot
Following the death of her newborn baby, war widow LouLou Mason accepts a temporary two-week assignment as nursemaid to the infant son of corset manufacturer Frederick K. Begley, who lost his wife in childbirth. She ingratiates herself with the family and eventually becomes a permanent fixture. When she declines Frederick's proposal, he marries his secretary Alicia Torgersen, who fires LouLou following her honeymoon.

LouLou finds employment with wealthy Henry and Fleur Palfrey and begins to care for baby Robbie. Older son Harrison is expelled from boarding school due to poor grades and bad behavior and returns home with his tutor, Jerry Kean. When Jerry is offered a job in Beirut, he impulsively proposes to LouLou, who accepts. While waiting for his fiancée to pack, Jerry speaks to Fleur, who warns him about marrying a woman he barely knows. Having second thoughts, he suggests he and LouLou wait a few months before marrying, and she remains with the Palfreys.

Years pass, and LouLou is nursemaid to Stephanie, the twelve-year-old daughter of fading musical actress Annie Rawlins. When Annie is delayed at an audition and misses Stephanie's confirmation, the girl tells her friends that LouLou is her mother. Realizing the girl has become too attached to her, Loulou decides to find work elsewhere.

Just prior to the start of World War II, LouLou accepts a job with Helen and Hugh Williams. Hugh joins the military and is injured in battle, prompting his wife to join him in England. Two years pass, and the widowed Helen, who still has not returned home, stops sending money to support her son Tony. LouLou accepts responsibility for the boy and raises him as her own. Years later, when Helen notifies her that she is returning with her new husband, LouLou flees to Florida with Tony, but is arrested and charged with kidnapping. Although he is sympathetic to LouLou's situation, the district attorney is compelled by law to return Tony to Helen.

Now too old to be entrusted with the care of a baby, LouLou accepts a janitorial job in an elementary school in order to be close to children. When she visits an ophthalmologist, she discovers he is Robbie Palfrey, the now adult son of her former employers. Robbie invites her to his home for dinner the following week and arranges for all the children for whom she cared to be there with their spouses. As LouLou catches up with her former charges, Robbie announces he wants her to be the nanny for his own children.

Critical reception
Bosley Crowther of the New York Times called the film "a whoppingly banal tear-jerker [that] will lure multitudes of moviegoers who like nothing better than a good cry." He added, "Mr. Corwin's scenario, under Curtis Bernhardt's soupy direction, stretches Miss Wyman's situation...into a series of parchedly sunlit episodes, contrived to squeeze the heart and present this lady as a quivering-lipped saint. There is little in the way of wit, grit or, for that matter, real substance...Miss Wyman..has little to do herself except to age daintily. She exercises reasonable restraint but persevering sweetness with an iron halo in a grating two-hour gamut. And since Miss Wyman, like the rest of The Blue Veil, is so far removed from flesh and blood, we can only leave her and it to heaven."

Variety noted "Curtis Bernhardt's direction handles the drama surely, if at times a bit measured, and never strives for dramatic tricks beyond the level of the simple, warm story being told."

Box office
The film earned $2.2 million in rentals in the U.S. and Canada during 1951 and total rentals of $3,550,000, making a profit of $450,000.

In May 1952 it was reported the film had returned net earnings to Wald and Krasna of $800,000.

Radio adaptation
The Blue Veil was presented on Lux Radio Theatre November 24, 1952. The one-hour adaptation starred Wyman in her screen role.

title: The Blue Veil (1951 film)


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Talk:Gild

I deleted the redirect to Guild because Gild is not just plain wrong as a variant on Guild. This article should probably be deleted. -- Zoe
 * Isn't "gilding" a term in metallurgy, like when you cover steel with gold to make it look like gold? Anyway, I agree the redirect is useless, but if that's the word I'm thinking of, it probably deserves an entry. Tuf-Kat

 * Probably better under Gilding than "Gild". Tannin

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Gild


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Shirley Booth

Shirley Booth (born Marjory Ford; August 30, 1898 – October 16, 1992) was an American actress. One of 24 performers to achieve the Triple Crown of Acting, Booth was the recipient of an Academy Award, two Primetime Emmy Awards and three Tony Awards.

Primarily a theater actress, Booth began her career on Broadway in 1915. Her most significant success was as Lola Delaney, in the drama Come Back, Little Sheba, for which she received her second Tony Award in 1950 (she would go on to win three). She made her film debut, reprising her role in the 1952 film version, for which she won the Academy Award for Best Actress and the Golden Globe Award for Best Actress for her performance. Despite her successful entry into films, she preferred acting on the stage, and made only four more films.

From 1961 to 1966, she played the title role in the sitcom Hazel, for which she won two Primetime Emmy Awards. She was acclaimed for her performance in the 1966 television production of The Glass Menagerie. Her final role was providing the voice of Mrs. Claus in the 1974 animated Christmas television special The Year Without a Santa Claus.

Early life
Booth was born Marjory Ford in New York City, according to her birth certificate to Albert James and Virginia M. (née Wright) Ford. In the 1900 New York state census, she was listed as Thelma Booth Ford. She had one sibling, a younger sister, Jean. Her early childhood was spent in Flatbush, Brooklyn, where she attended Public School 152.

When she was age 7, Booth's family moved to Philadelphia, where she first became interested in acting after seeing a stage performance. When Booth was a teenager, her family moved to Hartford, Connecticut, where she became involved in summer stock. She made her stage debut in a production of Mother Carey's Chickens. Against her father's protests, she dropped out of school and traveled to New York City to pursue a career. She initially used the name Thelma Booth when her father forbade her to use the family name professionally. She eventually changed her name to Shirley Booth.

Career
Booth began her stage career as a teenager, acting in stock company productions. She was a prominent actress in Pittsburgh theatre for a time, performing with the Sharp Company. Her debut on Broadway was in the play Hell's Bells, with Humphrey Bogart, on January 26, 1925. Booth first attracted major notice as the female lead in the comedy hit Three Men on a Horse, which ran from 1935 to 1937. During the 1930s and 1940s, she achieved popularity in dramas, comedies and later musicals. She acted with Katharine Hepburn in The Philadelphia Story (1939), originated the role of Ruth Sherwood in the 1940 Broadway production of My Sister Eileen, and performed with Ralph Bellamy in Tomorrow the World (1943). Booth also starred on the popular radio series Duffy's Tavern, playing the lighthearted, wisecracking, man-crazy daughter of the unseen tavern owner on CBS radio from 1941 to 1942 and on NBC Blue from 1942 to 1943. Her then-husband, Ed Gardner, created and wrote the show as well as played its lead character Archie, the manager of the tavern; Booth left the show after the couple divorced. She auditioned unsuccessfully for the title role of Our Miss Brooks in 1948; she had been recommended by Harry Ackerman, who was to produce the show, but Ackerman told radio historian Gerald Nachman that he felt Booth was too conscious of a high school teacher's struggles to have full fun with the character's comic possibilities. Our Miss Brooks became a radio and television hit when the title role went to Eve Arden. In the summer of 1949, Booth portrayed Phyllis Hogan in the situation comedy Hogan's Daughter on NBC radio.

Booth received her first Tony Award, for Best Supporting or Featured Actress (Dramatic), for her performance as Grace Woods in Goodbye, My Fancy (1948). Her second Tony was for Best Actress in a Play, which she received for her widely acclaimed performance as the tortured wife Lola Delaney in the poignant drama Come Back, Little Sheba (1950). Sidney Blackmer received the Tony for Best Actor in a Play for his performance as her husband Doc.

Her success in Come Back, Little Sheba was followed by the musical A Tree Grows in Brooklyn (1951), based on the popular novel, in which she played the feisty, but lovable Aunt Sissy, which proved to be another major hit. Her popularity was such that, at the time, the story was skewed from the original so that Aunt Sissy was the leading role (rather than Francie). Booth then went to Hollywood and reprised her stage role in the 1952 film version of Come Back, Little Sheba with Burt Lancaster playing Doc. After that movie was completed — her first of only five films in her career — she returned to New York and played Leona Samish in Arthur Laurents' play The Time of the Cuckoo (1952) on Broadway.

Booth received the Academy Award for Best Actress in a Leading Role for her performance in Come Back, Little Sheba, becoming the first actress ever to win both a Tony and an Oscar for the same role. The film also earned Booth Best Actress awards from The Cannes Film Festival, the Golden Globe Awards, the New York Film Critics Circle Awards, and National Board of Review. She received her third Tony, her second in the Best Actress in a Play category, for her performance in The Time of the Cuckoo.

Booth was age 54 when she made her first movie, but she had successfully shaved almost a decade off her real age, with her publicity stating 1907 as the year of her birth. Her correct year of birth was known by only her closest associates, until her correct year of birth, 1898, was announced at the time of her death. Her second starring film, About Mrs. Leslie, a romantic drama opposite Robert Ryan, was released in 1954 to good reviews, but was poorly received by audiences. In 1953, Booth had made a cameo appearance as herself in the all-star comedy/drama movie Main Street to Broadway. She spent the next few years commuting between New York and California. On Broadway, she scored personal successes in the musical By the Beautiful Sea (1954) and the comedy Desk Set (1955). Although Booth had become well known to moviegoers during this period, the movie roles for The Time of the Cuckoo (re-titled as Summertime for the film in 1955), and Desk Set (1957), both went to Katharine Hepburn.

In 1957, Booth won the Sarah Siddons Award for her work on the stage in Chicago. She returned to the Broadway stage in 1959, starring as the long-suffering title character in Marc Blitzstein's musical Juno, an adaptation of Seán O'Casey's 1924 play Juno and the Paycock. In 1961, director Frank Capra approached Booth about starring in Pocketful of Miracles, an updated version of Capra's 1933 comedy-drama Lady for a Day starring May Robson. Booth informed him that she was unable to match Robson's Oscar-nominated performance in the original film and declined the role. Capra instead cast Bette Davis, who was unfavorably compared to Robson by most reviewers when the film was released.

Booth starred in two more films for Paramount Pictures, playing Dolly Gallagher Levi in the 1958 film adaptation of Thornton Wilder's romance/comedy The Matchmaker (the source text for the musical Hello, Dolly!), and to play Alma Duval in the drama Hot Spell (1958). For her performances in both films, Booth was nominated as the year's Best Actress by the New York Film Critics Circle).

Hazel

In 1961, Booth was cast in the title role on the sitcom Hazel, based on Ted Key's popular single-panel cartoon from the Saturday Evening Post about the domineering yet endearing housemaid named Hazel Burke who works for the Baxter family. The series also starred Don DeFore as George Baxter, Whitney Blake as Dorothy "Missy" Baxter, and Bobby Buntrock as the Baxters' young son Harold. Upon its premiere, Hazel was an immediate hit with audiences and drew high ratings.

In 1963, Booth told the Associated Press at the height of Hazel's popularity, I liked playing Hazel the first time I read one of the scripts, and I could see all the possibilities of the character—the comedy would take care of itself. My job was to give her heart. Hazel never bores me. Besides, she's my insurance policy. Over the course of its five-year run, Booth won two Primetime Emmy Awards for her work in the series and was nominated for a third. Booth is one of the few performers to win all three major entertainment awards (Oscar, Tony, Emmy).

In 1965, NBC canceled the series. CBS picked up and retooled the series; Don DeFore (George Baxter) and Whitney Blake (Dorothy Baxter) were written out of the series, while Bobby Buntrock (Harold "Sport" Baxter) remained a cast member. Ray Fulmer was cast as Steve Baxter, the brother of DeFore's character George. Booth, who owned the rights to the series, hired Lynn Borden, a former Miss Arizona, as Steve's wife Barbara. Julia Benjamin was cast as Barbara and Steve's daughter Susie. In the retooled version, George and Dorothy Baxter have moved to Baghdad, leaving Harold to live with Steve and Barbara. Hazel remains on as the new Baxters' housekeeper. While ratings for the fifth season were still strong (Hazel ranked number 26 for the season), Booth decided to end the show due to health problems.

Later career and retirement
Shortly after the end of Hazel, Booth appeared in the television production of The Glass Menagerie that aired on the anthology series CBS Playhouse. She won critical acclaim for her performance and was nominated for another Primetime Emmy Award.

Booth's final Broadway appearances were in a revival of Noël Coward's play Hay Fever and the musical Look to the Lilies, both in 1970. In 1971, she returned to Chicago to star with Gig Young in a revival of Harvey at the Blackstone Theater. In 1973, Booth returned to episodic television in the ABC series A Touch of Grace. The series was based on the British sitcom For the Love of Ada. A Touch of Grace was canceled after one season.

In 1974, Booth provided the voice for the character of Mrs. Claus in the animated television special The Year Without a Santa Claus. It was Booth's final acting role after which she retired to her home in Cape Cod, Massachusetts.

Personal life
On November 23, 1929, Booth married Ed Gardner, who later gained fame as the creator and host of the radio series Duffy's Tavern, with Booth originating the role of man-hungry Miss Duffy in the series. They divorced in 1942. She married William H. Baker Jr., a corporal in the U.S. Army, the following year. Booth and Baker remained married until his death from heart disease in 1951. She never remarried and had no children from either marriage.

For her contributions to the film industry, Booth has a motion pictures star on the Hollywood Walk of Fame at 6850 Hollywood Boulevard.

After retiring from acting in 1974, Booth moved to North Chatham, Massachusetts, where she lived with her pet poodle and two cats. She maintained contact with her friends via telephone and spent her time painting and doing needlework. In November 1979, she was inducted into the American Theatre Hall of Fame. Booth did not attend the ceremony, and the award was accepted on her behalf by Celeste Holm.

Death
By 1976, Booth's health began to decline. She reportedly suffered a stroke that caused mobility issues and blindness. After her death, Booth's sister said she had broken her hip in 1979, which restricted her mobility. On October 16, 1992, Booth died at the age of 94 at her home in North Chatham. After a private memorial service, Booth was interred in the Baker family plot in Mount Hebron Cemetery in Montclair, New Jersey.

title: Shirley Booth


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Come Back, Little Sheba (1952 film)

Come Back, Little Sheba is a 1952 American drama film directed by Daniel Mann in his directorial debut and produced by Paramount Pictures. The script was adapted by Ketti Frings from the 1950 play of the same title by William Inge. Starring Burt Lancaster, Shirley Booth, Terry Moore, and Richard Jaeckel, the film tells the story of a marriage between a recovering alcoholic and his frumpy wife, which is rocked when a young college student rents a room in the couple's house. The title refers to the wife's little dog that disappeared months before the story begins and whom she still openly grieves for. Booth, who had originated her role on Broadway and was making her film debut, won Best Actress honors at the Academy Awards, the Golden Globes, and the New York Film Critics Circle Awards.

Plot
Doc Delaney is a recovering alcoholic married to Lola, a frumpy, middle-aged housewife. Doc had once been a promising medical student, but dropped out of college when Lola became pregnant with his child, marrying her because her father had thrown her out of the house. The child later died, and Lola was unable to have any more children. Doc spent the years drinking away the pain, in the process ruining his career and wasting his inheritance. Doc, now sober for one year, is polite but distant toward his wife, while a lonely and unhappy Lola sleeps late, dresses sloppily, and does not keep a tidy house. Every day she goes outside to call for her lost dog Little Sheba, whom she dreams about.

To make some money, Lola rents a room to Marie, a college student brimming with youthfulness and sexuality. One day Marie brings home Turk, a star on the track team, to model for an ad she is creating for a local athletic competition. Turk is wearing his track outfit which shows off his physique. Lola encourages the couple in their modeling session, but Doc, who walks in to find Turk under-dressed, thinks it borders on pornography. Doc disapproves of a hustler like Turk taking advantage of a virtuous young girl like Marie, but Lola defends him, pointing out that Marie is engaged to another young man, Bruce, who is away but due to return soon.

As Marie's infatuation with Turk grows, Doc becomes agitated. Lola reminds him that Marie is much like she had been in her younger days, before she became "old, fat, and sloppy". Doc calms down, but still voices his disapproval of Marie seeing another boy while Bruce is away. One night, Turk and Marie return from having a few beers, with Turk having every intention of spending the night. Doc sees them together and, deeply upset, goes to the kitchen and looks at his bottle hidden in the cupboard. When Turk tries to force himself on Marie, she asks him to leave. His departure is unseen by Doc, who comes back to see the light go off under Marie's door.

The next morning Doc takes the whiskey he has not touched for a year from the cabinet and disappears for hours, missing the elaborate dinner Lola has planned for Marie and Bruce. Lola sets the table with the fine china she received from Doc's mother when they married, cleans up the living room, and changes into a fancy dress. Early the next morning, Doc returns in a drunken rage, lashing out at Lola that she is as much a slut as Marie and threatening her with a knife. Lola manages to call two of Doc's Alcoholics Anonymous friends to take him to the hospital. Doc chases Lola into the kitchen and tries to choke her, then passes out. The two men arrive and take Doc away. Lola goes to the hospital where Doc is being treated and spends the night with him.

The next day, a shaken Lola returns home and calls her parents asking to stay with them while Doc is gone, but her father still refuses to welcome her back. Her mother offers to come stay with Lola, but Lola turns her down. Marie sends her a telegram saying that she and Bruce have married. A few days later, Doc returns from the hospital, apologizes to Lola for his behavior, and begs her never to leave him, vowing to be more attentive to her. Lola promises to stay with him forever; he is all she has. As the two begin to rekindle their marriage, Doc notices how Lola has renovated the kitchen and she tells him how she has found closure in Sheba's death.

Cast

 * Burt Lancaster as Doc Delaney
 * Shirley Booth as Lola Delaney
 * Terry Moore as Marie Buckholder
 * Richard Jaeckel as Turk Fisher
 * Philip Ober as Ed Anderson
 * Edwin Max as Elmo Huston
 * Lisa Golm as Mrs. Coffman
 * Walter Kelley as Bruce

Development
The film is based on the Broadway play Come Back, Little Sheba by William Inge, produced by the Theatre Guild. Paramount Pictures purchased the rights to the play for $100,000 plus a percentage of the film's profits.

This was Daniel Mann's film directorial debut. Producer Hal Wallis urged him to direct the film since he had directed the play on Broadway. Ketti Frings wrote the adaptation. Several scenes which did not appear in the play were added for the film version, notably the Alcoholics Anonymous meeting.

Casting
Shirley Booth, who originated the role of Lola in the Broadway production and won a Tony Award for her performance, reprised the role in her screen debut. When it appeared that Booth might have other commitments, producer Wallis asked Bette Davis to take the role, but she declined. Booth told a Life magazine interviewer in 1952 that she had developed the character of Lola from observing several women on the streets of New York City, "including an unkempt woman she had seen walking aimlessly one night on Sixth Avenue with a dirty white poodle".

Burt Lancaster lobbied for the part of the middle-aged Doc though he was only 38 years old at the time. Wallis recalled in his autobiography that "in order to make the trim and muscular Lancaster appear older, his baggy, shapeless costume was padded at the waist and he was instructed to stoop, hollow his chest and shuffle his feet". Wallis said in an interview that studio executives were "[p]repared to accept glamorous men and women in melodramas of the seamy side of life, [but] they were shocked at the thought of making a picture with beaten, unkempt, depressing people". Film critic John C. Tibbetts conjectures that that stance was behind the casting of Lancaster, who was a virile young star. Tibbetts adds: "It was Lancaster's idea to transform the weakling Doc into a strong man debilitated by his wife over a period of years".

Filming
Production took place from late February to late March 1952. Location filming was held near the University of Southern California campus in Los Angeles.

Release
Paramount pre-released the film in New York City and Los Angeles during Christmas week of 1952 in order to qualify for the Academy Award nominations for that year. The official release date was March 1953.

As a result, the film collected several awards before the official release date. The National Board of Review awarded Shirley Booth its Best Actress honor, having viewed the film in a screening room at Paramount Pictures. Booth was also named Best Actress at the 10th Golden Globe Awards and the New York Film Critics Circle Awards, and was singled out for honors in an Associated Press poll of newspaper critics, a Film Daily poll, and Look magazine, before the March release date. The Akron Beacon Journal noted in its review that the local theater delayed screening the picture until after the awards season, in order to take advantage of the resultant publicity.

Box office
The film earned $3.5 million in box-office receipts. It was the thirteenth biggest money-maker of 1953.

Critical reception
Newsweek called the film "one of Hollywood's few outstanding movies of the year". Time magazine labeled it "a minor, but moving tragedy on a major theme: the lives of quiet desperation that men lead". The Akron Beacon Journal noted the frankness of the script, in which the lead characters openly discuss the reason for their hasty marriage and the college students are seen as "sex-happy". This review recommended the film "as 'must' entertainment to the discriminating adult moviegoer". The Spokesman-Review said the film was an example of "intelligent movie-making when Hollywood forgets mass appeal and makes a story because it is a good story or a good play. It is poignant and powerful and more than a picture, rather an experience that proves to be deeply moving". However, this review felt Mann's direction was "uneven", with the scenes between Doc and Lola coming across as more natural and convincing than those between Marie and Turk. It speculates that "possibly he [Mann] just gave Miss Booth her head and let her go, since she had done the role so many times on the stage".

Shirley Booth's screen debut won unanimous critical praise. Bosley Crowther of The New York Times wrote: "Enough cannot be said for the excellence of the performance Miss Booth gives in this, her first screen appearance—which, in itself, is something of a surprise. Her skillful and knowing creation of a depressingly common type—the immature, mawkish, lazy housewife—is visualization at its best".

The Pittsburgh Post-Gazette asserted that Booth's "is the kind of a performance that strikes a match to the screen, and endows the profession of acting with a towering dignity. … [She] gives Doc's wife heartbreak and compassion, and encloses the part in a choking pathos. … Miss Booth is the real force behind the overwhelming tug and the blistering realism of 'Come Back, Little Sheba'".

The Akron Beacon Journal wrote that Booth "is the picture". It praised the "subtlety and depth" that Booth invests in her performance, making her character "both funny and tragic. Her ceaseless, child-like prattle almost drives the viewers mad, but her radiant love of people wins them back to her".

Variety wrote: "Shirley Booth has the remarkable gift of never appearing to be acting". Film critic John C. McCarten agreed with that sentiment, writing: "Her portrait of a loving, not too bright lady driving a sensitive man to drink looks so authentic it is unsettling". Writing in 1992, film critic James Monaco said: "Booth's brilliant work (she originated the role on Broadway) remains etched forever in the memory of anyone who has seen the film".

The Hollywood Reporter called Burt Lancaster's performance a "complete switch from anything he has ever done and easily the outstanding effort of his career". Variety said Lancaster "brought an unsuspected talent to his role as a middle-aged, alcoholic husband", a sentiment echoed by the Pittsburgh Post-Gazette: "As for Mr. Lancaster, he taps a talent Hollywood has never heretofore explored, and brilliantly underlines the saddeningly frustrated Doc". Crowther of The New York Times wrote that "the excellence of Mr. Lancaster as the frustrated, inarticulate spouse, weak-willed and sweetly passive, should not be overlooked". Akron Beacon Journal asserted that "Lancaster is definitely miscast. His youth and vitality show through his makeup. He's far from believable, especially in the early portions of the film".

According to Monaco, this was Terry Moore's "finest performance". Crowther adds: "As the pretty and hot-blooded boarder, Terry Moore strikes precisely the right note of timeless and endless animalism and Richard Jaeckel is good as the boy who carnally pursues her". Critics also praised Philip Ober's role as an Alcoholics Anonymous leader, and the A.A. meeting scene itself, which the Pittsburgh Post-Gazette described as "quite touching and revealingly illustrated" and which Crowther called "one of the nicer bits of Americana in the film".

Sociologist Norman K. Denzin writes that Come Back, Little Sheba was the first Hollywood production to depict an A.A. meeting along with organizational practices such as sponsors, 12-step calls to fellow alcoholics, slogans, and "birthday" parties celebrating years of sobriety. Unlike other reviewers who focused on the performances of the lead actors in what is obviously a dead marriage, Denzin believes that "the film's implicit thesis [is] that alcoholism is a family disease". He explains: "Their readings treated the film as being about something else, that something else being Inge's picture of broken dreams in middle-class family life in small town America. In this reading they missed Inge's other major point, namely, that when dreams are broken for the middle class, alcoholism is not far behind. …" "The film's negative feminization of Lola (her slovenly appearance, etc.) carries forward the loss of femininity theme in the female alcoholism films examined in the last chapter. She takes on the visual characteristics of a female alcoholic, even though she never drinks." "In a sense the movie is about her and her acceptance of her husband's alcoholism. More deeply, it is about her acceptance of her lost child, her lost relationship with her father, and Doc's lost medical degree. Little Sheba represents her past and a past that she will not let go of. It is necessary, then, to read the film, not as a study of an alcoholic personality, but as a study of an alcoholic marriage. The film is about the past and how the past shapes and destroys the present."

Other versions
A television version of the original play was made in 1977, starring Laurence Olivier, Joanne Woodward and Carrie Fisher. It was directed by Silvio Narizzano.

The play was integrated into a sketch on The Colgate Comedy Hour, starring Dean Martin, Jerry Lewis and Burt Lancaster.

title: Come Back, Little Sheba (1952 film)


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Demographic profile

A demographic profile is a form of demographic analysis in which information is gathered about a group to better understand the group's composition or behaviors for the purpose of providing more relevant services.

In business, a demographic profile is usually used to increase marketing efficiency. This is done by using gathered data to determine how to advertise products or services to specific audiences and identify gaps in marketing strategy. By focusing on a specific audience, a company can more efficiently spend advertising resources to maximize sales. This tactic is more direct than simply advertising on the basis that everyone is a potential consumer; while this may be true, it does not capitalize on the increased returns that more focused marketing can generate.

Traditional demographic profiling involves gathering information on large groups of people in order to identify common trends, such as changes in population size or composition over time. These trends can be identified by analyzing data gained through surveys, censuses, in-store purchase information, records, registries, and so on. Analysis of this information may promote change in services for a population subset, such as children, the elderly, or working-age people. Newer methods of collecting and using information for demographic profiling include target-sampling, quota-sampling, and door-to-door screening.

A comprehensive demographic profile is a powerful tool for marketing. Detailed information about potential customers provides insight into how to best sell them a product. The term "demographic profiling" is sometimes used as a euphemism for industrial espionage.

Methods
Historically, a census has been the most important tool when it comes to tracking demographic data such as population, births, deaths, and relationship status. The United States census was first introduced in 1790 and has been taken every 10 years since under constitutional law. While the questions in the US Census vary each decade, its aim is to quantifiable measure characteristics about the residents within its borders, such as marital status, age, sex, race, education status, employment status, and location. Even though the US Census is the most relied-on tool for collecting this information, it still has its flaws, such as overcount and undercount, which have caused controversy in previous years.

Metadata provides a modern method of constructing demographic profiles. Certain types of digital metadata are generated by a user's online behavior—such as which websites are frequently visited, the amount of time spent on each website, the website interactions or purchase history, and which other users were interacted with—and serve as a digital footprint. Metadata collection is so pervasive that businesses record most aspects of a user's online activity. Companies such as Google and Facebook make enormous profits through generating and processing metadata, which can then be used for targeted advertising. This process impacts the user's online experience, such as curating which ads are displayed or which websites are suggested.

Controversy
Metadata collection has proven to be a controversial topic, with concerns expressed over how and why detailed personal information is saved and used by businesses. To avoid future legislation limiting metadata collection, companies must act ethically and have people's privacy in mind when they target people for advertising.

An example of how this could become an issue is presented by Ewing et al. (2013), who proposed the idea of a virtual reality shopping programme. Within this programme, the shopper is greeted by a virtual attendant who knows them by name and suggests an array of suitable clothing options based on their past purchases. The shopper is delighted by the seamless nature of this shopping experience. However, when they try to pay with their credit card, the virtual attendee reveals an unreasonably detailed knowledge about the shopper's financial situation, such as their credit score, payment history, and financial responsibility. This example highlights the need for discretion in the extent to which information is gathered, and how it is applied.

World demographic profile (2017)
Source: CIA World Factbook

United States
Source: CIA World Factbook

China
Source: CIA World Factbook

India
Source: CIA World Factbook

title: Demographic profile


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Aldrich Ames

Aldrich Hazen Ames (born May 26, 1941) is an American former CIA counterintelligence officer who was convicted of espionage on behalf of the Soviet Union and Russia in 1994. He is serving a life sentence, without the possibility of parole, in the Federal Correctional Institution in Terre Haute, Indiana. Ames was known to have compromised more highly classified CIA assets than any other officer until Robert Hanssen, who was arrested seven years later in 2001.

Early life and education
Ames was born in River Falls, Wisconsin, on May 26, 1941, to Carleton Cecil Ames and Rachel Ames (née Aldrich). His father was a college lecturer at the Wisconsin State College-River Falls, and his mother a high school English teacher. Aldrich was the eldest of three children and the only son. In 1952, his father began working for the Central Intelligence Agency's Directorate of Operations in Langley, Virginia. The following year, in 1953, his father was posted to Southeast Asia for three years, and the family relocated there. Carleton received a "particularly negative performance appraisal" in part because of serious alcoholism, and spent the remainder of his career at CIA headquarters in Langley.

Ames attended McLean High School in McLean, Virginia. Beginning in 1957, following his sophomore year, he worked for the CIA for three summers as a low-ranking GS-3 records analyst as part of a program to give temporary jobs to children of CIA employees. Ames was responsible for marking classified documents for filing as well as making fake money to be used in training programs for "the Farm", where CIA trainees began. Two years later, in 1959, Ames entered the University of Chicago, where he planned to study foreign cultures and history. His "long-time passion" for drama, however, resulted in failing grades, and he did not finish his sophomore year.

CIA career
Ames returned to the CIA during the summer of 1960, as a laborer and painter. He then became an assistant technical director at a Chicago theater until February 1962. Returning to the Washington metropolitan area, Ames took full-time employment at the CIA doing the same sort of clerical jobs he had performed in high school. While taking his first polygraph examination, Ames claimed to have committed a crime, which was considered no probability of deception. When asked to elaborate on the offense, Ames confessed that he and a friend not affiliated with CIA, while drunk, stole a delivery boy's bicycle and went joyriding. However, this confession had not been considered grave enough to disqualify Ames from a security clearance.

Five years after first working for the CIA, Ames completed a bachelor's degree in history at the George Washington University in Washington, D.C.. He did not plan to have a career with the agency, but after attaining the grade of GS-7 and receiving good performance appraisals, he was accepted into the Career Trainee Program despite several alcohol-related brushes with the police. In 1969, Ames married a fellow CIA officer, Nancy Segebarth, whom he had met in the Career Trainee Program.

Ames was assigned to Ankara, Turkey, and Nancy then resigned from the CIA because of a rule that prohibited married partners from working from the same office. Ames' job in Turkey was to target Soviet intelligence officers for recruitment. He succeeded in infiltrating the communist Dev-Genç organization through a roommate of student activist Deniz Gezmiş and a beauty pageant contestant whose boyfriend was participating in a movement to overthrow the Turkish government. In spite of this success, Ames' performance was rated only "satisfactory". His superiors considered the spies recruited to be of sufficient value, but a remark was made that Ames was "unsuited for field work and it is recommended he spend the remainder of his career at CIA headquarters". Discouraged by the critical assessment, Ames considered resigning from the agency.

In 1972, Ames returned to CIA headquarters, where he spent the next four years in the Soviet-East European (SE) Division, where he was responsible for managing assets and his skills were better utilized. His performance reviews were "generally enthusiastic". Nevertheless, his excessive drinking was noted, and two "eyes only" memoranda were placed in his file.

In 1976, Ames was assigned to New York City, where he handled two important Soviet assets. His performance was rated excellent, and he received several promotions and bonuses, being ranked above most operations officers in his pay grade. However, Ames' tendency to procrastinate in submissions of financial accounting was noted. His inattention to detail also led him to commit two important security violations, including once leaving a briefcase containing classified operational materials on the New York City Subway, which the FBI recaptured and determined it uncompromised. Ames later said he received a verbal reprimand, but no documentation of the matter.

In 1981, Ames accepted a posting to Mexico City while his wife remained in New York City. His evaluations in Mexico were mediocre at best, and he engaged in at least three extramarital affairs. In October 1982, Ames began an affair with, a cultural attaché in the Colombian embassy and a CIA informant. He married Rosario in 1985, with whom he fathered a son, Paul Ames, who was born in 1989. Despite CIA regulations, Ames did not report his romance with a foreign national to his superiors, even though some of his colleagues were aware of it. His lackluster performance reviews were again partly the result of his heavy drinking. At a diplomatic reception in Mexico City, Ames got into a loud, drunken argument with a Cuban official that "caused alarm" among his superiors.

In September 1983, Ames was transferred back to the Southeast Asia division at CIA headquarters. His reassignment placed him "in the most sensitive element" of the Department of Operations, which was responsible for Soviet counterintelligence. Ames had access to all CIA plans and operations against the KGB and the GRU, Soviet military intelligence. In October, he formally separated from Nancy; in November, he submitted an "outside activity" report to the CIA, noting his romantic relationship with Rosario. Aldrich Ames later remarked that Nancy made little fuss about the affair and quickly agreed to a divorce, but made it well known she was keeping most of their joint assets.

As part of his divorce settlement, Ames agreed to pay the debts that he and his wife had accrued and provide Nancy monthly support for three and a half years, totaling approximately $46,000. Ames thought the divorce might bankrupt him, and later said that this financial pressure was what had first led him to consider spying for the Soviets. Rosario had also proven to be a heavy spender, going on shopping sprees and phoning her family in Colombia at a cost of $400 a month. After her arrest, the FBI discovered 60 purses in the Ames' house, more than five hundred pairs of shoes, 165 unopened boxes of pantyhose and multiple designer dresses, noting "at least a dozen looked like they were not yet worn". Also discovered were six men's Rolex watches.

Espionage
Ames routinely assisted another CIA office that assessed Soviet embassy officials as potential intelligence assets. As part of this responsibility, and with the knowledge of both the CIA and the FBI, Ames began making contacts within the Soviet embassy.

In April 1985, Ames' espionage on behalf of the Soviet Union began. He provided information to the Soviets that he believed was "essentially valueless" but would establish his credentials as a CIA insider. In exchange for it, he asked for $50,000, which the Soviets quickly paid. Ames later claimed that he had not prepared for more than the initial "con game" to satisfy his immediate indebtedness but having "crossed a line" he "could never step back".

Ames soon identified more than ten top-level CIA and FBI sources who were reporting on Soviet activities. Not only did Ames believe that there was "as much money as [he] could ever use" in betraying these intelligence assets, but their elimination would also reduce the chance of his own espionage being discovered. The CIA's network of Soviet-bloc agents began disappearing at an alarming rate, including double agents Gennady Varenik and Dmitri Polyakov. The CIA realized something was wrong but was reluctant to consider the possibility of a mole within their agency. Initial investigations focused on possible breaches caused by Soviet bugs, or a code which had been broken.

The CIA initially blamed asset losses on another former CIA agent, Edward Lee Howard, who had also been passing information to the Soviets. But when the agency lost three other important assets about whom Howard could not have known anything, it was clear that the arrests and resulting executions were the result of information provided by another source. One CIA officer said that the Soviets "were wrapping up our cases with reckless abandon", which was highly unusual because the "prevailing wisdom among the Agency's professional 'spy catchers was that suddenly eliminating all the assets known to the mole would put him in danger. In fact, Ames' KGB handlers apologized to him, saying they disagreed with that course of action, but that the decision to immediately eliminate all American assets had been made at the highest political levels.

Meanwhile, Ames continued to meet openly with his contact at the Soviet embassy, Sergey Dmitriyevich Chuvakhin. For a time, Ames summarized for the CIA and FBI the progress of what he portrayed as an attempt to recruit Chuvakhin. Ames received $20,000 to $50,000 every time the two had lunch. Ultimately, Ames received $4.6 million from the Soviets, which allowed him to enjoy a lifestyle well beyond the means of a CIA officer. In August 1985, when Ames' divorce became final, he immediately married Rosario Casas Dupuy. Understanding that his new wealth would raise eyebrows, he developed a cover story that his prosperity was the result of money given to him by his Colombian wife's wealthy family. Ames wired considerable amounts of his espionage payments to his new in-laws in Bogotá to help improve their actual impoverished status.

In mid-May 1985, someone apparently reported to the Soviets that Oleg Gordievsky, their chief of station in London, was sending secrets to MI6, which he had been doing, under great secrecy, for 11 years. On May 17, 1985, Gordievsky was recalled to Moscow, where he was drugged and interrogated about his alleged communications with MI6. There was great suspicion that Ames had reported Gordievsky's activity to Soviet counterintelligence. In June 1994, however, The Washington Post stated that "After six weeks of questioning Ames ... the FBI and CIA remain baffled about whether Ames or someone else first warned the Soviets about Gordievsky". An FBI agent reported that Ames had not advised the Soviets about Gordievsky until June 13, 1985. By that time, the spy was under KGB surveillance, although he was not charged with treason as of July 19, 1985, when MI6 agents began to exfiltrate him to Britain.

In 1986, following the loss of several CIA assets, Ames told the KGB that he feared he would be a suspect. The KGB threw U.S. investigators off Ames' trail by constructing an elaborate diversion, in which a Soviet case officer told a CIA contact that the mole was stationed at Warrenton Training Center (WTC) in Warrenton, Virginia, a secret CIA communications facility in Virginia. Mole hunters investigated ninety employees at WTC for almost a year and came up with ten suspects, although the lead investigator noted that "there are so many problem personalities that no one stands out".

In 1986, Ames was posted in Rome, where his performance once again ranged from mediocre to poor and again included evidence of his problematic drinking. Regardless, from 1990 to 1991, he was reassigned to the CIA's Counterintelligence Center Analysis Group, which provided him with access to "extremely sensitive data", including information on American double agents.

Later, after he defected, Gordievsky spoke highly of the information that Ames had provided to the KGB, stating that "the significance of Ames was huge" and that the Soviets were impressed with the "quality and quantity" of secrets that he had delivered.

CIA response
In late 1986, the CIA assembled a team to investigate the source of the leaks. Led by Paul Redmond, and including Jeanne Vertefeuille, Sandra Grimes, Diana Worthen, and Dan Payne, the team examined different possible causes, including the possibilities that the KGB had bugged the agency, or intercepted its communications, or had a mole in place. By 1990, the CIA was certain that there was a mole in the agency, but was unable to identify the exact source. Recruitment of new Soviet agents was brought to a near halt, since the agency feared it could not protect its current assets.

Prior to that, in November 1989, a fellow employee reported that Ames seemed to be enjoying a lifestyle well beyond the means of a CIA officer, and that his wife's family was less wealthy than he had claimed. Worthen, one of the members of the mole hunt team, knew Rosario prior to her marriage and had met with her one day to discuss installing drapes in the Ames residence. Worthen had recently installed drapes in her own home and knew they could be expensive. She asked which room to concentrate on first, to which Rosario laughed and said, "Do not worry about the price, we are going to have the whole house done at once!" Worthen also knew that Rosario's parents had little money, and a CIA contact in Bogotá observed that her family was now well-off. Nevertheless, the CIA moved slowly. When the investigator assigned to look at Ames' finances began a two-month training course, no one immediately replaced him. Investigators were also diverted by a false story from a CIA officer abroad who claimed that the Soviets had penetrated the CIA with an employee born in the USSR.

In 1986 and 1991, Ames passed two polygraph examinations while spying for the Soviet Union. He was initially "terrified" at the prospect of taking the test but was advised by the KGB "to just relax". Ames' test demonstrated deceptive answers to some questions, but the examiners passed him. In the later opinion of the CIA, this was because the examiners were "overly friendly" and therefore did not induce the proper physiological response.

The CIA finally focused on Ames after co-workers noted his sharper personal appearance, including:
 * Cosmetic dentistry: Ames' teeth, which were yellowed as a result of heavy smoking, had been capped
 * Attire: Ames had been known for "bargain basement" attire, but suddenly changed to wearing tailor-made suits not even his superiors could afford

The CIA also realized that, despite Ames' annual salary of $60,000, he could afford:
 * A $540,000 house in Arlington County, Virginia, which he paid for in cash
 * A $50,000 Jaguar luxury car
 * Home remodeling and redecoration costs of $99,000
 * Monthly phone bills exceeding $6,000, mostly calls by Ames' wife to her family in Colombia
 * Servants from the Philippines, whose travel to and from the States was paid for by Ames
 * Premium credit cards, on which the minimum monthly payment exceeded his monthly salary

Arrest
In March 1993, the CIA and FBI began an intensive investigation of Ames that included electronic surveillance, combing through his trash, and installing a monitor in his car to track his movements. From November 1993 until his arrest, Ames was kept under virtually constant physical surveillance. In early 1994, when he was scheduled to attend a conference in Moscow, the FBI believed it could wait no longer, and he and his wife were arrested on February 21. At his arrest, Ames told officers, "You're making a big mistake! You must have the wrong man!"

On February 22, 1994, Ames and his wife were formally charged by the Department of Justice with spying for the Soviet Union and Russia. He pleaded guilty on April 28, and received a sentence of life imprisonment. As part of a plea bargain by Ames, his wife received a lesser sentence of a five-year prison sentence for tax evasion and conspiracy to commit espionage.

In court, Ames admitted that he had compromised "virtually all Soviet agents of the CIA and other American and foreign services known to me" and had provided the USSR and Russia with a "huge quantity of information on United States foreign, defense and security policies". It is estimated that information Ames provided to the Soviets led to the compromise of at least 100 American intelligence operations and the execution of at least ten sources. Ames' betrayal of CIA methods also allowed the KGB to use "controlled agents" to feed the U.S. both genuine intelligence and disinformation from 1986 to 1993. Some of this "feed material" was incorporated into CIA intelligence reports, several of which even reached three U.S. presidents.

Ames said he was not afraid of being caught by the FBI or CIA but was afraid of Soviet defectors, saying, "Virtually every American who has been jailed in connection with espionage has been fingered by a Soviet source". Additionally, when asked about the polygraph tests, Ames said, "There's no special magic. Confidence is what does it. Confidence and a friendly relationship with the examiner. Rapport, where you smile and you make him think that you like him. Making the examiner believe that the exam has no importance to you seals the deal."

Post-sentence
Ames is incarcerated by the Federal Bureau of Prisons as prisoner #40087-083, serving his life sentence in the medium-security Federal Correctional Institution (FCI) in Terre Haute, Indiana.

The CIA was criticized for not focusing on Ames sooner, given the obvious increase in his standard of living. There was a "huge uproar" in Congress when CIA Director James Woolsey decided that no one in the agency would be dismissed or demoted in relation to Ames' espionage. "Some have clamored for heads to roll in order that we could say that heads have rolled," Woolsey declared. "Sorry, that's not my way." Woolsey later resigned under pressure.

Ames' attorney, Plato Cacheris, threatened to litigate the legality of the FBI's searches and seizures in Ames' home and office without conventional search warrants, although Ames' guilty plea made the threat moot. Congress then passed a new law that granted specific power to the Foreign Intelligence Surveillance Court to authorize such searches. Ames was ineligible for a death sentence due to the uproar about the execution of Julius and Ethel Rosenberg, who were convicted of carrying out espionage for the Soviet Union and were executed at Sing Sing in Ossining, New York, on June 1953. Following Ames' espionage, however, Congress reinstated the death penalty for foreign espionage.

CIA sources compromised

 * Vitaly Yurchenko was a KGB officer in the Fifth Department of Directorate K, "the highest-ranking KGB officer ever to defect to the United States". In August 1985, he defected to the U.S. via Rome, only to return to the Soviet Union three months later. Ames was privy to all information that Yurchenko gave to the CIA and was able to transmit it to the KGB, which allowed easy cover-ups of lost information. Upon his return to the Soviet Union, Yurchenko was reassigned to a desk job within the FCD as a reward for helping to keep Ames' spying a secret.
 * Major General Dmitri Polyakov was the highest-ranking figure in the GRU, giving information to the CIA from the early 1960s until his retirement in 1980. He was executed in 1988 after Ames exposed him. Polyakov was probably the most valuable asset compromised by Ames. One CIA official said of Polyakov: "He didn't do this for money. He insisted on staying in place to help us."
 * Colonel Oleg Gordievsky was the head of the London rezidentura (station) and spied for MI6. Ames handed over information about Gordievsky that positively identified him as a double agent, although Gordievsky managed to escape to the Finnish border, where he was extracted to the United Kingdom via Norway by MI6 before he could be detained in the Soviet Union.
 * Adolf Tolkachev was an electrical engineer who was one of the chief designers at the Phazotron company, which produces military radars and avionics. Tolkachev passed information to the CIA between 1979 and 1985, compromising multiple radar and missile secrets, as well as turning over classified information on avionics. He was arrested in 1985 after being compromised by both Ames and Edward Lee Howard, and was executed in 1986.
 * was a Line X (Technical & Scientific Intelligence) officer at the Washington rezidentura. He revealed the identities of fifty Soviet intelligence officers operating from the embassy and technical and scientific targets that the KGB had penetrated. After being identified by Ames, Martynov was executed.
 * Major Sergei Motorin was a Line PR (political intelligence) officer at the Washington rezidentura, whom the FBI tried to blackmail into spying for the Americans. He eventually cooperated for his own reasons. Motorin was one of two moles at the rezidentura betrayed by Ames and was executed in 1988.
 * Colonel Leonid Poleshchuk was a Line KR (counterintelligence) agent in Nigeria, also betrayed by Ames. His arrest was attributed to a chance encounter in which KGB agents had observed a CIA agent loading a dead drop. After some time, Poleshchuk was seen removing the contents. He was eventually tried and executed.
 * Sergey Fedorenko was a nuclear weapons expert assigned to the Soviet delegation to the United Nations. In 1977, Ames was assigned to handle him, and Fedorenko provided information about the Soviet missile program to Ames. The two men became good friends, hugging when Fedorenko was about to return to Moscow. "We had become close friends", said Ames. "We trusted each other completely." Ames was initially hesitant to inform on Fedorenko, but soon after handing over the majority of the information, he decided to betray him to "do a good job" for the KGB. Back in the USSR, Fedorenko used political connections to get himself out of trouble. Years later, Fedorenko met his friend Ames for an emotional reunion over lunch and promised to move to the U.S. for good. Ames promised to help. Shortly after the lunch, Ames betrayed him to the KGB for a second time. Fedorenko escaped arrest, defected, and is currently living in Rhode Island.
 * In a 2004 interview with Howard Phillips Hart, who was the CIA Station Chief of Bonn in the late 1980s, it was revealed that in 1988, Ames also betrayed a Mikoyan Gurevich Design Bureau engineer who had been working with the CIA for fourteen years and had provided complete technical, test, and research data on all of the Soviet Union's fighter jets. According to Hart, his information "allowed the US Government to prevent the skies from being blacked out by Soviet bombers, saved us billions of dollars ... since we knew precisely what they could do".

Tennent H. Bagley, a high-level CIA counterintelligence officer and Yuri Nosenko's long-term case officer, said in a follow-up to his 2007 Yale University Press book, Spy Wars: Moles, Mysteries and Deadly Games, that "a KGB veteran even thought that 'most' of the CIA spies inside the KGB who were betrayed by CIA traitor Aldrich Ames in 1985 were in fact loyal [KGB] staffers pretending to help the CIA." Bagley's source for his statement was "Aleksandr Kouzminov, Biological Espionage: Special Operations in the Soviet and Russian Foreign Intelligence Services in the West, (London: Greenhill Books, 2005), p. 59."

In Spy Wars itself, Bagley goes into great detail explaining why he believed Vitaly Yurchenko, whom Ames allegedly betrayed, was a Kremlin-loyal false defector all along.

Aldrich Ames and Jonathan Pollard
Rafi Eitan, the Israeli handler of Jonathan Pollard, alleged that Pollard was blamed for some of Ames' crimes. Pollard went on to serve thirty years in prison for passing classified information to Israel. Eitan stated that Pollard never exposed American agents in the Soviet Union or elsewhere, and that he believed Ames tried to blame Pollard to clear himself of suspicion. "I have no doubt that had Pollard been tried today, in light of what is known about Ames and other agents who were exposed, he would have received a much lighter sentence".

In popular culture

 * In 1996, Ames was used as a plot device in Frederick Forsyth's novel Icon, published by Bantam Books.
 * In 1998, Ames' story is dramatized in the film Aldrich Ames: Traitor Within, starring Timothy Hutton as Ames.
 * In 2003, Ames was mentioned in the film The Recruit, which uses the examples of Ames, Nicholson, and Howard, to examine the ways in which the CIA works to prevent external espionage, but is, and always will be, subject to internal espionage.
 * In 2005, Ames was the subject of a thematic card in the Cold War-related board game Twilight Struggle.
 * In 2011, Ames was portrayed by Joseph DiMartino in the television program Mysteries at the Museum (Season 2, Episode 6), which chronicled the Aldrich Ames story and the infamous mailbox used as a signal.
 * In 2014, the ABC miniseries The Assets is based on the book Circle of Treason: A CIA Account of Traitor Aldrich Ames and the Men He Betrayed by Sandra Grimes and Jeanne Vertefeuille, two of the investigators who uncovered Ames' espionage. Grimes is one of the central characters in the series. Ames was portrayed by British actor Paul Rhys.
 * In 2018, Ames was featured in Ben Macintyre's book The Spy and the Traitor: The Greatest Espionage Story of the Cold War. Macintyre observes that Ames had no particular communist sympathies, but, having been promised some $4M, his only motivation was money "to buy a bigger car".
 * In 2023, Ames was mentioned in the TV series Billions in season 7, episode 4, in reference to the character Mike Prince going down as Aldrich Ames as a traitor.
 * In 2023, Ames' repeated acts of treason, his eventual capture and imprisonment, were mentioned in the BBC TV series, Secrets & Spies: A Nuclear Game.

title: Aldrich Ames


text:
Sudden Fear

Sudden Fear is a 1952 American film noir thriller film starring Joan Crawford and Jack Palance in a tale about a successful woman who marries a murderous man. Directed by David Miller, the screenplay by Lenore J. Coffee and Robert Smith was based upon the novel of the same name by Edna Sherry.

Plot
Myra Hudson (Crawford) is a successful Broadway playwright who rejects Lester Blaine (Palance) as the lead in her new play. Later, she meets him on a train bound for San Francisco, is swept off her feet and, after a brief courtship, marries him.

Lester is unaware that Myra is making changes to her will which will ensure he will inherit everything. She has begun dictating them into her personal dictating machine but is interrupted when guests begin to arrive for the evening. She forgets to turn the machine off and, later, when Lester and his long-time lover, Irene Neves (Grahame), are in Myra's study, they find the original will, which stipulates that the bulk of her fortune be left to a foundation. Irene suggests Myra's murder; unknown to the couple, their subsequent plotting is recorded.

Myra hears the recording, and is devastated. In her haste to take the incriminating record to others, she drops and breaks it. Frantically trying to think how to proceed, she suddenly concocts a scheme of her own to kill Lester and place the blame on Irene.

Using her writing skills, she sets out a plan, but the complex timing — and her alibi — begins to unravel. She fakes a message to Irene from Lester to get her out of the way. While hiding in Irene's apartment waiting for Lester, Myra catches her reflection in a mirror and is horrified at the sight of herself holding a gun. She decides to abandon the plan, but it's too late; Lester has learned of her intentions and, after life-and-death shifts in everybody's murderous aims, ultimately ends up chasing Myra in his car through the streets of San Francisco. On foot, Myra is able to avoid him, although he gets out of the car in pursuit, and she has to hide. He returns to the car and drives around looking for her.

Unbeknownst to him, Irene is returning to her house, wondering why he hasn't turned up. He eventually mistakes Irene for Myra, and aims the car at her. Myra, seeing this at the last minute, shouts to stop him but it is too late. Lester crashes, killing both himself and Irene. Myra breathes a sigh of relief as she walks safely off into the night.

Cast

 * Joan Crawford as Myra Hudson
 * Jack Palance as Lester Blaine
 * Gloria Grahame as Irene Neves
 * Bruce Bennett as Steve Kearney
 * Virginia Huston as Ann Taylor
 * Mike Connors (billed as Touch Conners) as Junior Kearney

Critical response
When the film was released, the film critic for The New York Times, A. H. Weiler, reviewed the film favorably: "Joan Crawford should be credited with a truly professional performance in Sudden Fear ... The entire production has been mounted in excellent taste and, it must be pointed out, that San Francisco and Los Angeles, Bunker Hill area, in which most of the action takes place, is an excitingly photogenic area. David Miller, the director, has taken full advantage of the city's steep streets and panoramic views. And, in his climactic scenes in a darkened apartment and a chase through its precipitous dark alleys and backyards he has managed to project an authentically doom-filled atmosphere."

Otis L. Guernsey Jr., also wrote a positive review in the New York Herald Tribune. He wrote: "The scenario...is designed to allow Miss Crawford a wide range of quivering reactions to vicious events, as she passes through the stage of starry-eyed love, terrible disillusionment, fear, hatred, and finally hysteria. With her wide eyes and forceful bearing, she is the woman for the job."

Village Voice reviewer Melissa Anderson wrote in 2016 that Sudden Fear "fits into and defies different genres, its convention-scrambling partly the result of the fact that the film looks both forward and back." Dennis Schwartz liked the film, but questioned some of the film's plot points, saying that "David Miller stylishly directs this disturbing psychological gargoyle thriller ... [Yet] ... the suspense is marred by plot devices that don't hold up to further scrutiny. Joan Crawford has a chance to act out on her hysteria after her happy marriage is unmasked as a charade, and does a fine job of trying to remain calm while knowing her hubby and [his] girlfriend are planning to kill her ... The film is grandly topped off by Charles B. Lang Jr. and his remarkably glossy black-and-white photography."

In 1984, film noir historian Spencer Selby noted, "Undoubtedly one of the most stylish and refined woman-in-distress noirs."

Accolades
Crawford received her third and final Oscar nomination for this film, the only time she competed against arch-rival Bette Davis for Best Actress, who was nominated (for the tenth time) for The Star. Neither actress won; Shirley Booth took home the prize for Come Back, Little Sheba.

Home media
Sudden Fear was first released on VHS by Kino Video. Kino also released the film on Region 1 DVD in 2003. In 2006, the film was also released as part of Film Noir - The Dark Side of Hollywood DVD box set by Kino Video. In 2016, the film was released on Blu-ray by Cohen Film Collection.

title: Sudden Fear


text:
The Star (1952 film)

The Star is a 1952 American drama film directed by Stuart Heisler and starring Bette Davis, Sterling Hayden and Natalie Wood. The plot tells the story of an aging, washed-up actress who is desperate to restart her career. Even though the film was a critical and commercial failure, Bette Davis received an Academy Award nomination for Best Actress.

Plot
Oscar-winning star Margaret "Maggie" Elliot (Bette Davis) is a poor actress struggling to accept her new, non-wealthy reality. She is in denial, and confident she somehow can re-launch her career to its earlier brilliance. After suffering another big disappointment while vainly striving to get one good role, she gets drunk, gets arrested for DUI, and spends a night in jail. She is bailed out by Jim Johannsen (Sterling Hayden), a younger former actor whom she had helped in the past. Jim, now comfortably settled as the owner of a boatyard, admits that he has loved her ever since those days, and helped by Margaret's daughter Gretchen (Natalie Wood), tries to help Margaret see that her days as a famous actress are already over. She reluctantly tries to work as a saleswoman in an upscale department store, but gossip from two customers wounds her pride and she runs out. Her old agent manages to get her a screen test for a role in a film she'd always wanted to play. She takes the screen test for a supporting role, believing that if she plays that character as a sexy younger woman, rather than the middle-aged frump she is seen as by the studio, she might be able to win the more coveted lead role. It does not work.

At a Hollywood party thrown by her agent, she is offered a role in a new film about a fallen star who can't face the fact that it's all over. This new script is dedicated to washed-up actors and actresses who are obsessed by their former glory, by what they used to look like, what kind of an impression they’d make to stay on top, and how they behaved; demanding, bribing, power-hungry. It would be a story about those who can't look down and can't accept that their moment of glory is over and that the world has passed them by. Hearing the pitch delivered right to her face, and that she'd be the perfect actress to play the role, seems to have finally helped Margaret realize the cold truth about her future. She realizes that her film career is over, and she flees the party to the open arms of Jim and the love and acceptance of her daughter, from whom Margaret desperately tried to shield her failing career.

Cast

 * Bette Davis as Margaret Elliot
 * Sterling Hayden as Jim Johannsen
 * Natalie Wood as Gretchen
 * Warner Anderson as Harry Stone
 * Minor Watson as Joe Morrison
 * June Travis as Phyllis Stone
 * Paul Frees as Richard Stanley
 * Robert Warwick as R.J., aging actor at party
 * Barbara Lawrence as herself
 * Fay Baker as Margaret's sister
 * Herb Vigran as Margaret's brother-in-law, Roy

Production
Katherine Albert and her husband Dale Eunson reportedly based the Margaret Elliot character on Joan Crawford, whose long friendship with the couple was ending as production began. Although it is sometimes said that she turned the role down, it never was offered to her. Bette Davis, who publicly disdained Crawford, thus eagerly took it.

Crawford retaliated after the Eunsons sent their daughter, starlet Joan Evans, Crawford's god-daughter, to the actress in the hope that Crawford would talk her out of marrying at age 17. Instead, Crawford arranged the wedding, held it in her house, and called the Eunsons afterward to tell them about it. "She set the whole thing up behind our backs", Albert complained. "She called the judge and the press. She didn't invite us to our own daughter's wedding."

title: The Star (1952 film)


text:
Jib

A jib is a triangular sail that sets ahead of the foremast of a sailing vessel. Its forward corner (tack) is fixed to the bowsprit, to the bows, or to the deck between the bowsprit and the foremost mast. Jibs and spinnakers are the two main types of headsails on a modern boat.

Modern yachts and small craft

Boats may be sailed using a jib alone, but more commonly jibs make a minor direct contribution to propulsion compared to a main sail. Generally, a jib's most crucial function is as an airfoil, increasing performance and overall stability by reducing turbulence on the main sail's leeward side. On boats with only one jib, it is common for the clew of the jib to be abaft the mast, meaning the jib and mainsail overlap. An overlapping jib is called a genoa jib or simply a genoa (see illustration). These are efficiently used when reaching more broadly than a close reach. Alternatively, a boat may carry smaller jibs, to compensate aerodynamics when the main sail is reefed; these more rugged sails are called storm jibs or spitfires.

On a boat with two staysails the inner sail is called the staysail, and the outer (foremost) is called the jib. This combination of two staysails is called a cutter rig (or in North America a yankee pair) and a boat with one mast rigged with two staysails and a mainsail is called a cutter.

On cruising yachts, and nearly all racing sailboats, the jib needs to be worked when tacking. On these yachts, there are two sheets attached to the clew of the jib. As the yacht comes head to wind during a tack, the active sheet is released, and the other sheet (the lazy sheet) on the other side of the boat is pulled in. This sheet becomes the new active sheet until the next tack.

Traditional vessels

Schooners typically have up to three jibs. The foremost one sets on the topmast forestay and is generally called the jib topsail, a second on the main forestay is called the jib, and the innermost is called the staysail. Actually, all three sails are both jibs and staysails in the generic sense.

Original usage in 18th and 19th century square-rigged ships distinguished between the fore staysail, set on the forestay running from the foremast head to the ship's peak, the foremost part of the hull, and the jibs set on stays running to the bowsprit. Jibs, but not staysails, could also be "set flying," i.e. not attached to the standing rigging. Sails set beyond the peak were typically called jibs, set on stays running from the fore topmast to the bowsprit, or the fore topgallant mast to the jibboom or even the fore royal mast to the flying jibboom. A large square-rigged ship typically has four jibs, but could have as many as six.

From forward to aft, these sails are called:

 * Jib of jibs
 * Spindle jib
 * Flying jib
 * Outer jib
 * Inner jib
 * Fore (topmast) staysail.

The first two were rarely used except by clipper ships in light winds and were usually set flying. A storm jib was a small jib of heavy canvas set to a stay to help to control the ship in bad weather.

Idiom
The jib is referenced in the idiom usually spoken as "I like the cut of your jib", generally seen as signifying approval of one's general appearance or respect for their character. The phrase alludes to the maritime practice of identifying far-away ships by noting the "cut" (general shape and configuration) of their sails to determine their status as friend or foe. One such report from the Naval Chronicle (1805)—"we perceived by the cut of their sails, then set, that they were French Ships of War"—is often cited as an early inspiration for the idiom.

Sir Walter Scott used the expression to denote approval in the 1824 novel St. Ronan's Well: "If she disliked what the sailor calls the cut of their jib. John Russell Bartlett later defined the idiom in his 1848 Dictionary of Americanisms as "The form of his profile, the cast of his countenance". This usage alludes to a frequent variation of meaning which describes approval, specifically, of the shape of one's nose, which roughly approximates the frontal position and triangular shape of the jib sail on a boat.

title: Jib


text:
Julie Harris

Julia Ann Harris (December 2, 1925 –August 24, 2013) was an American actress. Renowned for her classical and contemporary roles, she earned numerous accolades including five Tony Awards, three Emmy Awards, and a Grammy Award in addition to nominations for an Academy Award, and a BAFTA Award. She was inducted into the American Theatre Hall of Fame in 1979, received the National Medal of Arts in 1994, the Special Lifetime Achievement Tony Award, and the Kennedy Center Honor in 2005.

After making her Broadway debut in 1945 Harris went on to win five Tony Awards for Best Actress in a Play for her roles in I Am a Camera (1952), The Lark (1956), Forty Carats (1969), The Last of Mrs. Lincoln (1973), and The Belle of Amherst (1977). Her other Tony-nominated roles were in Marathon '33 (1964), Skyscraper (1966), The au Pair Man (1974), Lucifer's Child (1991), and The Gin Game (1997).

She starred in the 1950 play The Member of the Wedding, a role she reprised in the 1952 film of the same name, for which she was nominated for the Academy Award for Best Actress. Her other notable film roles include East of Eden (1955), I Am a Camera (1955), The Haunting (1963), and Reflections in a Golden Eye (1967). Harris received three Primetime Emmy Awards for her roles in Little Moon of Alban (1969), Victoria Regina (1962), and Not for Ourselves Alone (1999). She won the Grammy Award for Best Spoken Word Album for The Belle of Amherst (1978)

Early life and education
Julia Ann Harris was born in Grosse Pointe, Michigan, the daughter of Elsie L. (née Smith), a nurse, and William Pickett Harris, an investment banker and authority on zoology. She had an older brother, William, and a younger brother, Richard. She graduated from Grosse Pointe Country Day School, which later merged with two others to form the University Liggett School. In New York City, she attended The Hewitt School. As a teenager, she also trained at the Perry-Mansfield Performing Arts School & Camp in Colorado with Charlotte Perry, a mentor who encouraged Harris to apply to the Yale School of Drama, which she soon attended for a year. In 2007, Yale bestowed an honorary Doctor of Fine Arts degree upon Harris. As a founding member of Lee Strasberg's Actors Studio, Harris studied method acting, which emphasized psychology and emotions, and although it was strongly associated with male actors, she was able to successfully employ its techniques.

1945–1959: Early roles
In 1952, Harris won her first Best Actress Tony Award for originating the role of insouciant Sally Bowles in I Am a Camera, the stage version of Christopher Isherwood's Goodbye to Berlin (later adapted as the Broadway musical Cabaret (1966) and as the 1972 film, with Liza Minnelli as Sally). Harris repeated her stage role in the film version of I Am a Camera (1955). Harris's screen debut was in 1952, repeating her Broadway success as the lonely teenaged girl Frankie in Carson McCullers's The Member of the Wedding, for which she was nominated for the Academy Award for Best Actress. Director Elia Kazan cast her in East of Eden (1955) opposite James Dean in his first major screen role.

Harris was nominated for 11 Primetime Emmy Awards for her television work, winning three. She starred as Nora Helmer opposite Christopher Plummer in A Doll's House (1959), a 90-minute television adaptation of Henrik Ibsen's play. She made more appearances in leading roles on the Hallmark program than any other actress, also appearing in two different adaptations of the play Little Moon of Alban, her performance in the 1958 TV movie of the same name earning her the Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie.

1960–1989: Breakthrough and acclaim
She played the ethereal Eleanor Lance in The Haunting (1963), director Robert Wise's screen adaptation of a novel by Shirley Jackson. Another cast member recalled Harris refusing to socialize with the other actors while not on set, later explaining that she had done so as a method of emphasizing the alienation from the other characters experienced by her character in the film. Other notable films Harris appeared in during the 1960s include Requiem for a Heavyweight (1962), Harper (with Paul Newman) (1966), and Reflections in a Golden Eye (1967). Another noteworthy film appearance was the World War II drama The Hiding Place (1975).

Her second Emmy win came for her role as Queen Victoria in the 1961 Hallmark Hall of Fame production of Laurence Housman's Victoria Regina. She received further Emmy nominations for a range of roles including Anastasia (1967), The Last of Mrs. Lincoln (1976)—where she reprised her Tony-winning role as Mary Todd Lincoln from the 1973 play of the same name—and The Woman He Loved (1988). She won her third Emmy award in 2000 for Outstanding Voice-Over Performance for her voice role of Susan B. Anthony in Not for Ourselves Alone.

Of particular note is her Tony-winning performance in The Belle of Amherst, a one-woman play (written by William Luce and directed by Charles Nelson Reilly) based on the life and poetry of Emily Dickinson. She received a Grammy Award for Best Spoken Word Recording for the audio recording of the play. She first performed the play in 1976 and subsequently appeared in other solo shows, including Luce's Brontë. Other Broadway credits include The Playboy of the Western World, Macbeth, The Member of the Wedding, A Shot in the Dark, Skyscraper, And Miss Reardon Drinks a Little, Forty Carats, The Glass Menagerie, A Doll's House, The Gin Game, and a North American tour in 1992 of Lettice and Lovage in the lead part originated by Maggie Smith on Broadway.

In 1980, Harris guest starred in the series Knots Landing as country singer Lilimae Clements, the eccentric and protective mother of Valene Ewing (Joan Van Ark); she returned to the series as a regular character from 1981 to 1987. The role earned Harris a nomination for the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series, and two Soap Opera Digest Award nominations. In 1983, Harris became a company member of The Mirror Theater Ltd's Mirror Repertory Company. She became a mentor to the company, having urged Founding Artistic Director Sabra Jones to create the company from 1976 forward, when Jones married John Strasberg. Harris and Jones met at a performance of The Belle of Amherst, a revival of which The Mirror Theater Ltd recently performed in their summer home in Vermont.

1990–2009: Established actress
Harris made two recordings of narrations of E. B. White's children's book Stuart Little for the Pathways of Sound record label: the last six chapters for a single LP record in 1965, and the entire book for a two-record set in 1979. She also recorded narrations of many children's books for Caedmon Records. Harris also did extensive voiceover work for documentary maker Ken Burns: the voices of Emily Warren Roebling in Brooklyn Bridge (1981), Ann Lee in The Shakers: Hands to Work, Hearts to God (1984), and most notably Southern diarist Mary Boykin Chesnut for Burns' 1990 series The Civil War.

In the summer of 2008, she appeared on stage again in Chatham, Massachusetts, as "Nanny" in a Monomoy Theater production of The Effect of Gamma Rays on Man-in-the-Moon Marigolds. Harris continued to work until 2009, well into her eighties, narrating five historical documentaries by Christopher Seufert and Mooncusser Films, as well as being active as a director on the board of the independent Wellfleet Harbor Actors Theater (WHAT). In 2007, when the company built a new, additional theater, also in Wellfleet, Massachusetts, Ms Harris declined to have the building named for her. However, she consented to their naming "a piece of it after me"; WHAT named their stage the "Julie Harris Stage".

Personal life
Harris lived in West Chatham, Cape Cod, for many years until her death. Three times divorced, she had one son, Peter Gurian. A breast cancer survivor, she suffered a severe fall requiring surgery in 1999, a stroke in 2001, and a second stroke in 2010.

Harris died on August 24, 2013, of congestive heart failure at her home in West Chatham, Massachusetts. Harris was cremated after her death.

Legacy and honors
On December 5, 2005, Harris was named a Kennedy Center Honoree. At a White House ceremony, President George W. Bush remarked: "It's hard to imagine the American stage without the face, the voice, and the limitless talent of Julie Harris. She has found happiness in her life's work, and we thank her for sharing that happiness with the whole world."

Ben Brantley, theater critic for The New York Times, considered her "the actress who towered most luminously ... rather like a Statue of Liberty for Broadway." Alec Baldwin, who played Harris's son on Knots Landing, praised her in a tribute in the Huffington Post: "Her voice was like rainfall. Her eyes connected directly to and channeled the depths of her powerful and tender heart. Her talent, a gift from God."

Harris ties with Angela Lansbury with five Tony Award wins (Audra McDonald has since passed them both, with six wins). However, she holds the record (alongside Chita Rivera) for the most individual Tony Award nominations, with 10 (Audra McDonald has also since received her 10th nomination). In 1966, Harris won the Sarah Siddons Award for her work in Chicago theatre.

On August 28, 2013, Broadway theaters dimmed their lights for one minute in honor of Harris.

On December 3, 2013, Joan Van Ark announced at a Broadway memorial service the creation of the Julie Harris Scholarship, which provides annual support to an actor studying at the Yale School of Drama. Alec Baldwin made the first contribution. In 2021, Yale Drama became tuition-free and was rebranded the David Geffen School of Drama at Yale University.

title: Julie Harris


text:
Talk:Genoa (disambiguation)

Is the genoa sail really pronounced "jenny", generally? Egil

 * My father sailed for over thirty years and I never heard him use any other pronunciation, nor did I ever hear one from someone else. - Montréalais 19:49, 18 Oct 2003 (UTC)

title: Talk:Genoa (disambiguation)