Patricia Neal was a courageous actress, loved by many for her enduring and realistic performances in films, plays and on television over a decades-long career. Despite many personal tragedies and setbacks during her tenure, she is still remembered as a tenacious, but womanly presence.
Born on January 20, 1926 in Packard, Kentucky, the daughter of a coal company bookkeeper, Neal studied drama at Northwestern University and worked as a model before making her Broadway debut in “Voice of the Turtle” in 1946. Her success in “Another Part of the Forest” led to a film career that started in 1949 with “John Loves Mary.” She made a strong impression that same year opposite Gary Cooper in “The Fountainhead.”
During the next few years, she performed mainly in routine productions for Warner Bros. and other studios, among them “Operation Pacific” (1951) and “The Day the Earth Stood Still” (1951). She and Cooper became entangled in a well-publicized romance, at the end of which she suffered a nervous breakdown. Things improved in 1953 when she married British writer Roald Dahl, and for several years was absent from the screen.
She returned in excellent form in 1957, opposite Andy Griffith in Elia Kazan’s “A Face in the Crowd.” From then on, Neal seemed to be much more selective about her roles. In 1963, she won an Oscar® for her portrayal of a wizened farm worker in “Hud,” which starred a young Paul Newman. Two years later, during her fifth pregnancy, she suffered a series of massive strokes that damaged her nervous system and left her confined to a wheelchair in a state of semi-paralysis with severely impaired speech. Neal fought back courageously, made a remarkable recovery, and returned to screen work in “The Subject Was Roses” (1968).
President Johnson presented her that same year with the Heart of the Year Award. Her courage has carried her through other personal tragedies. One of her five children, a boy, was hit by a cab as a baby and survived eight brain operations, and another, a girl, died at 13 of measles. Neal’s bravery and her husband’s devotion were the subject of a 1981 TV movie “The Patricia Neal Story,” in which they were portrayed by Glenda Jackson and Dirk Borgarde. That same year, she starred alongside such veterans as Fred Astaire, Melvin Douglas (who was also in “Hud”) and John Houseman in “Ghost Story.” Her marriage to Dahl ended, however, in 1983, when Neal discovered that Dahl had been having an affair with one of her best friends. She left their home in England and moved to New York, where she resumed her working career. Neal published her autobiography, “As I Am,” in 1988.
Patricia Neal died in 2010.
He may be best known to younger generations as Clayton Farlow on Dallas, but Howard Keel had a vast and impressive film career before settling down on Southfork. In more than thirty film roles throughout the 50s and 60s, Howard starred opposite some of Hollywood’s most notable legends.
Born Harry Clifford Leek in Gillespie, Illinois, Howard was working as a representative for Douglas Aircraft Corporation in Southern California when he was selected for a role in the Los Angeles Theatre Guild. He worked on Broadway in Carousel and Oklahoma before landing the role of Boke in the 1948 British thriller The Small Voice. He was 29. A role in 1950’s Pagan Love Song followed, but it was his role in the Oscar-winning Annie Get Your Gun that gained Howard real notice.
Obviously deciding film adaptations of popular musicals were a good idea, Howard chose as his next film 1951’s Show Boat. Playing Ava Gardner’s leading man, Howard helped the film become the second highest-grossing film of that year.
Thanks to a string of not-so-memorable films, Howard’s career treaded water for the next couple of years. In 1953 he redeemed himself, however, by starring in the Doris Day rendition of Calamity Jane. Equally successful was that year’s Kiss Me Kate, starring Howard and Kathryn Grayson. And in 1954, he co-starred with Jane Powell in the Academy Award-nominated Seven Brides for Seven Brothers.
After 1959’s The Big Fisherman, the quality of film roles Howard was accepting began to decline. He chose more commercial films, mostly westerns and science fiction films, and as a result, his audience began to narrow. In 1968 he seemed to disappear altogether, possibly never to be resurrected, if it weren’t for a certain TV show that was looking for an opposing father figure.
By the time Howard joined Dallas as Clayton Farlow, it was already in its fourth season. Viewers were watching in droves and Howard’s role — to stand up to the vicious Ewings — would require an authority and confidence only a veteran actor could deliver. After a brief flirtation with Sue Ellen, Clayton became involved with the matriarch of the Ewing family, Miss Ellie. By the end of the series, the characters would marry.
After Dallas’ end in 1991, Howard appeared in the TV movie Hart to Hart: Home is Where the Heart Is and hosted both That’s Entertainment! III and The Making of Seven Brides for Seven Brothers.
Keel died in 2004.
Robert Wagner proved to be more than just a pretty face. An enduring and versatile entertainer, he had many successful Hollywood incarnations: from awkward juvenile lead to bobby-sox idol to assured leading man to television star and finally back to captivating character actor. The Brylcreem Kid, as he was known in the early days, turned out to be a major talent.
Born February 10, 1930, in Detroit, Michigan, Robert Wagner was not supposed to become an actor. The son of a wealthy steel executive, Robert was supposed to follow in his father’s footsteps and achieve great things in the world of business. But Robert caught the acting bug instead, and moved to Los Angeles before he was twenty to pursue his dreams.
His good looks and easy going manner got him into films and soon he became a contract player for 20th Century Fox. One of his first notable roles was in a unique John Ford war comedy called “What Price Glory?” (1952) which put him on screen with the likes of James Cagney. The film was originally intended to be a musical, though the final cut only contained two songs. The Ford film got Wagner noticed and he quickly appeared in a slew of smaller roles in films like “With a Song in My Heart” (1952) and “Stars and Stripes Forever” (1952).
Wagner soon progressed to leading man status in films like “Prince Valiant” (1953). But while the roles were getting bigger, they weren’t very challenging, and Wagner still wasn’t taken very seriously as an actor. Woman-kind swooned over Wagner’s all-American looks and every bobby-soxer wished they could take him to their prom. In 1954, however, Wagner got the chance to cut his teeth on a more serious role and display his talent in Edward Dmytryk’s riveting western “Broken Lance.”
Wagner seemed well on his way to establishing himself as a serious actor with another lead role in the western “White Feather” (1955) and the crime drama “A Kiss Before Dying” (1956), when suddenly his personal life completely eclipsed his professional life. In 1956, he met the love of his life, Natalie Wood. In 1957, they married in Scottsdale, Arizona. Hollywood trumpeted their marriage as the most “glittering union of the 20th century.” The public could not hear enough about the two love-birds and were ecstatic when they made their first film together, “All the Fine Young Cannibals” (1960). The moroseness of the film, however, turned out to be prescient: While the two appeared to be the perfect couple, living the perfect life, they were actually living on the edge and running out of money.
The two were deeply in love, but professional and financial stress began to take its toll on their marriage. Wagner was being overshadowed by new male leads like Marlon Brando and Paul Newman, while Wood was placed on a fourteen month suspension by Warner Bros. for refusing to shoot a film in England. They couldn’t afford to upkeep their $150,000 mansion on Beverly Drive in Beverly Hills, they couldn’t live up to the shimmering facade the tabloids had created, they couldn’t get the work they wanted in Hollywood. They wound up divorcing in 1962.
Wagner was a wreck after the divorce and went to Europe to film “The Longest Day” (1962), in part to assuage his grief. On the rebound, he married his old friend Marion Marshall in 1963. Still unable to regain his leading man status, Wagner tried his hand at comedy in “The Pink Panther” (1963) and at mystery in “Harper” (1966) — in which he played a supporting role to the man who had contributed to edging him out of the spotlight: Paul Newman. Reluctantly, Wagner went into television to star in “It Takes a Thief” (1968). The new medium resurrected his career, and he went on to star in many TV movies and several TV series, including the one he is most known for, “Hart to Hart” (1979).
While Wagner’s professional life was once again thriving by the late sixties, his personal life was not. He was still desperately in love with Natalie Wood, though he was still married to his second wife and Wood was newly married to British producer Richard Gregson. Each had a daughter. Wagner was divorced again in 1970, and one fated day, in 1971, Natalie and Robert ran into one another in a restaurant. The years of hardship and strife disappeared; the old magic was back. Wood divorced Gregson and the two love birds re-married in 1972 on their yacht, The Splendour.
Their second marriage really was picture perfect. The two were overjoyed to be reunited, and raised their children together happily. They made three television movies together during this time: “The Affair” (1973), “Cat on a Hot Tin Roof” (1976), and “Hart to Hart” (1979). Then, in 1981, tragedy struck and Wagner’s life was shattered again. Under mysterious circumstances, Wood slipped from the deck of The Splendour and drowned. Wagner was inconsolable and spent the next ten years trying to lose himself in his work, and raising Natalie’s and his daughters alone.
Wagner eventually remarried to Jill St. John, though to this day he finds it difficult to talk about his wife Natalie Wood’s death.
Shirley Jones burst onto the screen in Oklahoma, with a voice and a fresh-faced beauty that inspired a generation of men to daydream about taking her out in a surrey with a fringe on top.
Her role in “Carousel” and her Oscar®-winning turn in “Elmer Gantry” cemented Jones’s status as a star. On June 5, 1962, a parade featuring Shirley Jones and Robert Preston in “The Music Man” composer Meredith Wilson’s hometown of Mason City, Iowa, attracted a crowd of 125,000 people!
After having made so many classic films, it’s ironic that Shirley Jones is so well-known as a mother in a TV sitcom. Real movie fans know better.
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