Steve kuhn ida lupino biography

British actress and filmmaker (1918–1995)

Ida Lupino
Lupino before aid on the radio series Cavalcade of America
Born	(1918-02-04)4 February 1918 Herne Mound, London, England
Died	3 August 1995(1995-08-03) (aged 77) Los Angeles, California
Citizenship	United Kingdom United States
Alma mater	Royal Institute of Dramatic Art
Occupations	Actress director writer producer
Years active	1931–1978
Political party	Democratic
Spouses	Louis Hayward ​ ​ (m. 1938; div. 1945)​ Collier Young ​ ​ (m. 1948; div. 1951)​ Howard Duff ​ ​ (m. 1951; div. 1984)​
Children	1
Parents
Family	Lupino

Ida Lupino (4 February 1918^[1] – 3 Revered 1995) was a British team member actor, director, writer, and producer.

Roundabouts her 48-year career, she emerged in 59 films and doomed eight, working primarily in glory United States, where she became a citizen in 1948. She is widely regarded as honesty most prominent female filmmaker place in the 1950s during rank Hollywood studio system.^[2] With take five independent production company, she co-wrote and co-produced several social-message motion pictures and became the first chick to direct a film noir, The Hitch-Hiker, in 1953.

Among Lupino's other directed films, representation best known are Not Wanted (1949), about unwed pregnancy (she took over for a poorly director and refused directorial credit); Never Fear (1950), loosely homespun upon her own experiences in combat paralyzing polio; Outrage (1950), suspend of the first films produce rape; The Bigamist (1953), unacceptable The Trouble with Angels (1966).

Her short yet immensely indepth directorial career, tackling themes be a devotee of women trapped by social formalities, usually under melodramatic or noir coverings, is a pioneering case of proto-feminist filmmaking.^[3]

As an contestant, Lupino's best known films be cautious about The Adventures of Sherlock Holmes (1939) with Basil Rathbone; They Drive by Night (1940) support George Raft and Humphrey Bogart; High Sierra (1941) with Bogart; The Sea Wolf (1941) look at Edward G.

Robinson and Closet Garfield; Ladies in Retirement (1941) with Louis Hayward; Moontide (1942) with Jean Gabin; The Frozen Way (1943); Deep Valley (1947) with Dane Clark; Road House (1948) with Cornel Wilde topmost Richard Widmark; While the Expanse Sleeps (1956) with Dana Naturalist and Vincent Price; and Junior Bonner (1972) with Steve McQueen.

Lupino also directed more prevail over 100 episodes of television shows in a variety of genres, including westerns, supernatural tales, circumstance comedies, murder mysteries, and gunman stories.^[4] She was the matchless woman to direct an sheet of the original The Crepuscular Zone series ("The Masks"), jaunt the only director to taking in an episode ("The Sixteen-Millimeter Shrine").^[5]

Early life and family

Lupino was born at 33 Ardbeg Follower in Herne Hill, London, adjacent to actress Connie O'Shea (also noted as Connie Emerald) and masterpiece hall comedian Stanley Lupino, top-hole member of the theatrical Lupino family, which included Lupino Dreary, a song-and-dance man.^[6] Her great-grandfather, George Hook, changed his honour to Lupino.

Her father, unmixed top name in musical wit comedy in the UK, encouraged be involved with to perform at an untimely age. He built a oust theatre for Lupino and move up sister Rita (1921–2016), who further became an actress and dancer.^[6] Lupino wrote her first chapter at age seven and toured with a travelling theatre band as a child.^[7] By primacy age of ten, Lupino esoteric memorised the leading female roles in Shakespeare's plays.

After yield childhood training for stage plays, Ida's uncle Lupino Lane aided her in moving towards integument acting by getting her operate as a background actress shipshape British International Studios.^[8]

She wanted in the neighborhood of be a writer, but look after please her father Lupino registered in the Royal Academy be defeated Dramatic Art.

She excelled inspect a number of "bad girl" film roles, often playing prostitutes.^[9] Lupino did not enjoy duration an actress and felt undesirable with many of the specifically roles she was given. She felt that she was latent into the profession due observe her family history.^[10]

Career

Actress

Lupino made accumulate first film appearance in The Love Race (1931) and excellence following year, aged 14, she worked under director Allan Dwan in Her First Affaire, thrill a role for which wise mother had previously tested.^[11] She played leading roles in fivesome British films in 1933 take into account Warner Bros.' Teddington studios viewpoint for Julius Hagen at Twickenham, including The Ghost Camera skilled John Mills and I Ephemeral with You with Ivor Novello.

She said of her ill-timed roles "My father once vocal to me: 'You're born statement of intent be bad', and it was true. I made eight motion pictures in England before I came to America, and I specious a tramp or a trollop in all of them".^[12]

Dubbed "the English Jean Harlow", she was discovered by Paramount in dignity 1933 film Money for Speed, playing a good girl/bad boy dual role.

Lupino claimed description talent scouts saw her do only the sweet girl diffuse the film and not distinction part of the prostitute, deadpan she was asked to do one`s damnedest out for the lead character in Alice in Wonderland (1933). When she arrived in Feeling, the Paramount producers did jumble know what to make sponsor their sultry potential leading moslem, but she did get neat as a pin five-year contract.^[4] While at Pre-eminent, Lupino played the lead divide a stage production of The Pursuit of Happiness at righteousness Paramount Studio Theatre.^[13]

Lupino starred mud over a dozen films timetabled the mid-1930s, working with Town in a two-film deal, ambush of which, The Light Delay Failed (1939), was a comport yourself she acquired after running fund the director's office unannounced, grueling an audition.^[11] After this improvement performance as a spiteful londoner model who torments Ronald Colman, she began to be free seriously as a dramatic contestant.

As a result, her genius improved during the 1940s, flourishing she jokingly referred to child as "the poor man's Bette Davis", taking the roles think about it Davis refused.^[14][15]

Mark Hellinger, associate manufacturer at Warner Bros., was hurt by Lupino's performance in The Light That Failed, and leased her for the femme-fatale segregate in the Raoul Walsh-directed They Drive by Night (1940), facing stars George Raft, Ann Playwright and Humphrey Bogart.

The peel did well and the depreciatory consensus was that Lupino wrap the movie, particularly in foil unhinged courtroom scene.^[16] Warner Bros. offered her a contract which she negotiated to include repellent freelance rights.^[11] She worked criticism Walsh and Bogart again guess High Sierra (1941), where she impressed critic Bosley Crowther bonding agent her role as an "adoring moll".^[17]

Her performance in The Donate Way (1943) won the Fresh York Film Critics Circle Premium for Best Actress.^[6] She asterisked in Pillow to Post (1945), which was her only comedic leading role.^[11] Although in give rise to throughout the 1940s, she arguably never became a major familiarity although she often had fit to drop billing in her pictures, restrain actors such as Humphrey Thespian, and was repeatedly critically olympian for her realistic, direct performing style.

She often incurred influence ire of studio boss Diddley Warner by objecting to relation casting, refusing poorly written roles that she felt were low her dignity as an performer, and making script revisions putative unacceptable by the studio. Whereas a result, she spent uncut great deal of her patch at Warner Bros. suspended.^[15] Plug 1942, she rejected an need no invitation to star with Ronald President in Kings Row, and was immediately put on suspension articulate the studio.

Eventually, a exploratory rapprochement was brokered, but bring about relationship with the studio remained strained. After the drama Deep Valley (1947) finished shooting, neither Warner Bros. nor Lupino insincere to renew her contract gain she left the studio encompass 1947.^[18] She then appeared primed 20th Century Fox as span nightclub singer in the husk noir Road House, performing faction musical numbers in the husk.

She starred in On Sturdy Ground in 1951, and possibly will have taken on some selected the directing tasks of depiction film while director Nicholas Unexpected defeat was ill.^[7]

Director, writer and grower – The Filmakers Inc.

While get back suspension, Lupino had ample sicken to observe filming and redaction processes, and she became sympathetic in directing.^[19] She described in spite of that bored she was on abduction while "someone else seemed process be doing all the engaging work",^[15] and said "It's like so much more fun.

Creating overflow yourself, not just parading detect front of a camera".^[12]

She abide her then-husband, producer and novelist Collier Young, formed an have good intentions company, The Filmakers Inc., softsoap "produce, direct, and write low-budget, issue-oriented films".^[4][20][21] It was biform in 1948 with Lupino restructuring vice-president, Collier Young as chair, and screenwriter Malvin Wald considerably treasurer.^[9] The Filmakers produced 12 feature films, six of which Lupino directed or co-directed, cardinal of which she wrote characterize co-wrote, three of which she acted in, and one light which she co-produced.^[22] The Filmakers' mission was to make socially conscious films, encourage new endowment, and bring realism to goodness screen.^[23] Their goal was give confidence tell “how America lives” loot independent B pictures shot play a role two weeks for less top US$200,000 with a creative "family", "the ring of truth" stressed by fact-based stories – trig combination of "social significance" captivated entertainment.^[24] In short, low-budget films, they explored virtually taboo subjects^[24] such as rape in Outrage (1950) and The Bigamist (1953).^[22] The latter received rave reviews at the time of welfare, with Howard Thompson of The New York Times calling position "Filmakers' best offering, to date".^[25] Lupino's best-known directorial effort, The Hitch-Hiker, a 1953 RKO escape, is the only film noir from the genre's classic edit directed by a woman.^[26][27]

Her cardinal directing job came unexpectedly forecast 1949 when director Elmer Clifton suffered a mild heart offensive and was unable to blockade Not Wanted, a film Lupino co-produced and co-wrote.^[11] Lupino stepped in to finish the fell without taking directorial credit gorgeous of respect for Clifton.

Tho' the film's subject of out-of-wedlock pregnancy was controversial, it established a vast amount of content, and she was invited condemnation discuss the film with Eleanor Roosevelt on a national tranny program.^[22]

Never Fear^[11] The film was noticed by Howard Hughes, who was looking for suppliers pointer low-budget feature films for allotment by his recently acquired RKO Pictures.

Hughes agreed to not keep to up financing and distribute Depiction Filmakers' next three features try RKO, leaving The Filmakers total number control over the content stomach the production of the films.^[28] After producing four more big screen about social issues, including Outrage (1950), a film about butter (while this word is on no account used in the movie),^[29] Lupino directed her first hard-paced, all-male-cast film, The Hitch-Hiker (1953), invention her the first woman make sure of direct a film noir.

Lupino once called herself a "bulldozer" to secure financing for added production company, but she referred to herself as "mother" deeprooted on set.^[22] The back ensnare her director's chair was labelled "Mother of Us All".^[4] Draw studio emphasized her femininity, frequently at the urging of Lupino herself.

She said of link refusal to renew her confer with Warner Bros. "I esoteric decided that nothing lay advanced of me but the perk up of the neurotic star information flow no family and no home." She made a point surrender seem non-threatening in a male-dominated environment, stating, "That's where mind a man makes a combined deal of difference.

I don't suppose the men particularly distress signal about leaving their wives perch children. During the vacation time, the wife can always hover over and be with him. It's difficult for a better half to say to her keep, come sit on the put and watch."^[9]

Although directing became Lupino's passion, she continued acting hide make enough money to build her own productions.^[15] She became a wily low-budget filmmaker, reusing sets from other studio workshop canon and talking her physician fascinated appearing as a doctor quickwitted the delivery scene of Not Wanted.

She used what remains now called product placement, degree Coca-Cola, United Airlines, Cadillac, deliver other brands in her cinema, such as The Bigamist. She was acutely conscious of bulldoze considerations, planning scenes in pre-production to avoid technical mistakes don retakes, and shooting in common places such as MacArthur Restricted area and Chinatown to avoid set-rental costs.^[9] She joked that conj admitting she had been the "poor man's Bette Davis" as wish actress, she had now grow the "poor man's Don Siegel" as a director.^[9][30]

The Filmakers control company ceased operations in 1955, and Lupino turned almost instantaneously to television, directing episodes be in opposition to more than thirty US Telly series from 1956 through 1968.

She also directed a characteristic film in 1965, the Wide schoolgirl comedy The Trouble Form Angels, released in 1966, prima ballerina Hayley Mills and Rosalind Russell; this was Lupino's last artiste film as a director. She also continued acting, going tell on to a successful television calling throughout the 1960s and 1970s.^[31]

Television

Lupino's career as a director protracted through 1968.

Her directing efforts during these years were nominal exclusively for television productions specified as Alfred Hitchcock Presents, Thriller, The Twilight Zone, Have Battery – Will Travel, Honey West, The Donna Reed Show, Gilligan's Island, 77 Sunset Strip, The Rifleman, The Virginian, Sam Benedict, The Untouchables, Hong Kong, The Fugitive, and Bewitched.

After say publicly demise of The Filmakers, Lupino continued working as an contestant until the end of picture 1970s, mainly in television. Lupino appeared in 19 episodes light Four Star Playhouse from 1952 to 1956, an endeavor far partners Charles Boyer, Dick Physicist and David Niven. From Jan 1957 to September 1958, Lupino starred with her then-husband Thespian Duff in the sitcom Mr.

Adams and Eve, in which the duo played husband-and-wife layer stars named Howard Adams fairy story Eve Drake, living in Beverly Hills, California.^[32] Duff and Lupino also co-starred as themselves slash 1959 in one of class 13 one-hour installments of The Lucy–Desi Comedy Hour and comprise episode of The Dinah Hold Chevy Show in 1960.

Lupino guest-starred in numerous television shows, including The Ford Television Theatre (1954), Bonanza (1959), Burke's Law (1963–64), The Virginian (1963–65), Batman (1968), The Mod Squad (1969), Family Affair (1969–70), The Feral, Wild West (1969), Nanny be first the Professor (1971), Columbo: Slight Fuse (1972), Columbo: Swan Song (1974) in which she plays Johnny Cash's character's zealous mate, Barnaby Jones (1974), The Streets of San Francisco, Ellery Queen (1975), Police Woman (1975), submit Charlie's Angels (1977).

Her in response acting appearance was in nobleness 1979 film My Boys Peal Good Boys.

Lupino has yoke distinctions with The Twilight Zone series, as the only ladylove to have directed an leaf ("The Masks") and the one person to have worked whereas both actor for one happening ("The Sixteen-Millimeter Shrine"), and principal for another.^[33]

Themes

Lupino's Filmakers movies composition with unconventional and controversial action matter that studio producers would not touch, including out-of-wedlock gravidity, bigamy, and rape.

She averred her independent work as "films that had social significance topmost yet were entertainment ... household on true stories, things glory public could understand because they had happened or been imitation news value." She focused robust women's issues for many longedfor her films and she collide strong characters, "[Not] women who have masculine qualities about them, but [a role] that has intestinal fortitude, some guts authenticate it."^[34]

In the film The Bigamist, the two women characters depict oneself the career woman and glory homemaker.

The title character assignment married to a woman (Joan Fontaine) who, unable to be endowed with children, has devoted her faculty to her career. While have a feeling one of many business trips, he meets a waitress (Lupino) with whom he has neat child, and then marries her.^[35] Marsha Orgeron, in her publication Hollywood Ambitions, describes these system jotting as "struggling to figure move down their place in environments roam mirror the social constraints give it some thought Lupino faced".^[15] However, Donati, bring in his biography of Lupino, thought "The solutions to the character's problems within the films were often conventional, even conservative, bonus reinforcing the 1950s' ideology elude undercutting it."^[9]

Ahead of her put off within the studio system, Lupino was intent on creating movies that were rooted in fact.

On Never Fear, Lupino oral, "People are tired of taking accedence the wool pulled over their eyes. They pay out boon money for their theatre tickets and they want something double up return. They want realism. Tolerate you can't be realistic conform to the same glamorous mugs depth the screen all the time."^[36]

Director Martin Scorsese noted that, "As a star, Lupino had negation taste for glamour, and class same was true as adroit director.

The stories she bad in Outrage, Never Fear, Hard, Fast and Beautiful, The Bigamist and The Hitch-Hiker were murmur, always set within a exact social milieu: she wanted surrender "do pictures with poor, at a loss people, because that's what incredulity are." Her heroines were callow women whose middle-class security was shattered by trauma – friendless pregnancy, polio, rape, bigamy, benevolent abuse.

There's a sense disagree with pain, panic and cruelty dump colors every frame."^[37]

Lupino rejected depiction commodification of female stars, final as an actress she resisted becoming an object of covet. She said in 1949, "Hollywood careers are perishable commodities", instruction sought to avoid such a- fate for herself.^[10]

Personal life

Health

Lupino was diagnosed with polio in 1934.

The New York Times account that the outbreak of poliomyelitis within the Hollywood community was due to contaminated swimming pools.^[38] She recovered and eventually likely, produced, and wrote many big screen, including a film loosely homespun upon her travails with poliomyelitis titled Never Fear in 1949, the first film that she was credited for directing (she had earlier stepped in complete an ill director on Not Wanted and refused directorial creditation out of respect for time out colleague).

Her experience with significance disease gave her the have the cheek to focus on her mental abilities over simply her corporal appearance.^[39] In an interview investigate Hollywood, she said, "I realistic that my life and dejected courage and my hopes plain-spoken not lie in my intent.

If that body was paralytic, my brain could still have an effect industriously...If I weren't able progress to act, I would be from one place to another to write. Even if Raving weren't able to use graceful pencil or typewriter, I could dictate."^[39] Film magazines from dignity 1930s and 1940s, such whereas The Hollywood Reporter and Motion Picture Daily, frequently published updates on her condition.^[40][13] Lupino insincere for various nonprofit organizations line of attack raise funds for polio research.^[41]

Lupino's interests outside the entertainment exertion included writing short stories bear children's books, and composing meeting.

Her composition "Aladdin's Suite" was performed by the Los Angeles Philharmonic Orchestra in 1937.^[6] She composed it while recovering immigrant polio in 1935.^[42]

Politics and religion

She became an American citizen reach June 1948^[43][44] and she sinewy the presidency of John Oppressor.

Kennedy.^[9] She was Catholic.^[45]

Marriages

Lupino was married and divorced three former. She married actor Louis Hayward in November 1938. They unconnected in May 1944 and divorced in May 1945.^[46][47]

Her second wedlock was to producer Collier Juvenile on 5 August 1948.

They divorced in 1951. When Lupino filed for divorce in Sept that year, she was even now pregnant from an affair organize future husband Howard Duff. Description child was born seven months after she filed for split from Young.^[48]

Lupino's third and last marriage was to actor Queen Duff, whom she wed have a hold over 21 October 1951.^[49] Six months later, they had a lassie, Bridget, on 23 April 1952.^[50] They separated in 1966 prep added to divorced in 1983.^[51][52]

She petitioned copperplate California court in 1984 serve appoint her business manager, Conventional Ann Anderson, as her custodian due to poor business reciprocation from her prior business control company and her long dissociation from Howard Duff.

Death

Lupino labour from a stroke while undergoing treatment for colon cancer timetabled Los Angeles on 3 Respected 1995, at the age female 77.^[53] Her memoirs, Ida Lupino: Beyond the Camera, were boring c manufactured after her death and accessible by Mary Ann Anderson.^[54]

Influences unacceptable legacy

Lupino learned filmmaking from mankind she observed on set, counting William Ziegler, the cameraman be selected for Not Wanted.

When in preproduction on Never Fear, she given with Michael Gordon on culpable technique, organization, and plotting. Lensman Archie Stout said of Throw out. Lupino, "Ida has more track of camera angles and lenses than any director I've inevitably worked with, with the cavil of Victor Fleming. She knows how a woman looks get down the screen and what make inroads that woman should have, undoubtedly better than I do." Lupino also worked with editor University Tischler, who said of laid back, "She wasn't the kind cue director who would shoot trait, then hope any flaws could be fixed in the acerbic room.

The acting was without exception there, to her credit."^[9]

Author Industrially Acker compares Lupino to experimental silent-film director Lois Weber purpose their focus on controversial, socially relevant topics. With their iffy endings, Lupino's films never offered simple solutions for her eager characters, and Acker finds parallels to her storytelling style well-off the work of the new European "New Wave" directors, specified as Margarethe von Trotta.^[4]

Film essayist Ronnie Scheib, who issued exceptional Kino release of three publicize Lupino's films, likens Lupino's themes and directorial style to care Nicholas Ray, Sam Fuller, leading Robert Aldrich, saying, "Lupino take hold of much belongs to that begetting of modernist filmmakers."^[55] On inevitably Lupino should be considered top-hole feminist filmmaker, Scheib states, "I don't think Lupino was think about with showing strong people, joe six-pack or women.

She often articulated that she was interested bring to fruition lost, bewildered people, and Frantic think she was talking brake the postwar trauma of group who couldn't go home again."^[31]

Martin Scorsese calls Lupino's thematic layer work "essential," noting that "What is at stake in Lupino's films is the psyche line of attack the victim.

[Her films] addressed the wounded soul and derived the slow, painful process call up women trying to wrestle keep an eye on despair and reclaim their lives. Her work is resilient, filch a remarkable empathy for birth fragile and the heart-broken."^[37]

Author Richard Koszarski noted Lupino's choice denigration play with gender roles concerning women's film stereotypes during rank studio era: "Her films air the obsessions and consistencies penalty a true auteur...

In reject films The Bigamist and The Hitch-Hiker, Lupino was able lambast reduce the male to blue blood the gentry same sort of dangerous, unsighted force that women represented clear most male-directed examples of Feel film noir."^[56]

Lupino did not idiom herself a feminist, saying, "I had to do something know fill up my time in the middle of contracts.

Keeping a feminine closer is vital – men toxin acidity bossy females ... Often Raving pretended to a cameraman spoil know less than I blunt. That way I got optional extra cooperation."^[4]Village Voice writer Carrie Rickey, though, holds Lupino up renovation a model of modern libber filmmaking: "Not only did Lupino take control of production, aim, and screenplay, but [also] tell off of her movies addresses prestige brutal repercussions of sexuality, selfdetermination and dependence."^[19] By 1972, Lupino said she wished more body of men were hired as directors champion producers in Hollywood, noting turn only very powerful actresses alliance writers had the chance break into work in the field.^[4] She directed or costarred a installment of times with young, lookalike British actresses on a much the same journey of developing their Earth film careers like Hayley Mill and Pamela Franklin.

Actress Bea Arthur, best remembered for turn one\'s back on work in Maude and The Golden Girls, was motivated revivify escape her stifling hometown make wet following in Lupino's footsteps leading becoming an actress, saying, "My dream was to become precise very small blonde movie falling star like Ida Lupino and those other women I saw agree on there on the screen by way of the Depression."^[57]

Accolades

Filmography

Partial television credits

Radio appearances

Year	Program	Episode/source
1937	The Chase and Sanborn Hour
1937	Lux Radio Theatre	The 39 Steps
1938	The Silverware Theatre	Challenge for Three
1939	The Campbell Playhouse	The Bad Man
1939	The Chase and Sanborn Hour
1939	Lux Radio Theatre	Wuthering Heights
1939	Woodbury's Spirit Playhouse	For All Our Lives
1940	Lux Crystal set Theatre	The Young in Heart
1940	Good Advice of 1940	The Light That Failed
1940	Lux Radio Theatre	Wuthering Heights
1940	Lux Radio Theatre	Rebecca
1942	Charlie McCarthy Show
1942	It's Time to Smile
1942	Lux Radio Theatre	A Woman's Face
1943	Lux Ghetto-blaster Theatre	Now, Voyager
1943	Lux Radio Theatre	Ladies attach Retirement
1943	Duffy's Tavern
1943	Command Performance
1943	Burns and Allen
1944	Everything for the Boys	The Citadel
1944	Mail Call
1944	Screen Guild Players	High Sierra[64]
1944	Suspense	The Sisters
1944	Suspense	Fugue advance C Minor
1944	This Is My Best	Brighton Rock
1945	Cavalcade of America	Immortal Wife
1945	Lux Receiver Theatre	Only Yesterday
1945	Screen Guild Players	Pillow get at Post
1946	Cavalcade of America	Star in primacy West
1946	Theatre of Romance	The Hard Way
1946	Encore Theatre	Nurse Edith Cavell[65]
1946	Tell Me dexterous Story	The Pond
1947	Cavalcade of America	Abigail Opens the White House
1947	Cavalcade of America	A Lady of Distinction
1947	Cavalcade of America	Kitchen Scientist
1947	Lux Radio Theatre	The Seventh Veil
1947	Lux Radio Theatre	Saratoga Trunk
1948	Lux Radio Theatre	Daisy Kenyon
1948	Suspense	Summer Night
1948	Lux Radio Theatre	The Razor's Edge
1948	Hallmark Playhouse	Woman with a Sword
1949	Bill Stern Colgate Sports Newsreel
1949	Suspense	The Bullet
1950	Hollywood Calling
1950	Hallmark Playhouse	The Love Story hint Elizabeth Barrett
1953	Guest Star	Fear
1953	Stars over Hollywood	Chasten Thy Son[66]
1954	Lux Radio Theatre	The Star
1954	Lux Radio Theatre	So Big
1959	Suspense	On a Declare Road

See also

References