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chiseler · 7 years ago

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IT’S QUARTER TO THREE... IDA LUPINO SINGS

“I have a lovely voice. I sang ‘Smoke Gets in Your Eyes’ five times. He was loaded.” Thus Ida Lupino explains how she came by a $50 tip in Private Hell 36, the last, leanest, and in many ways best of three films in which she played nightclub singers—canaries very much at home in the coal mine of noir. She makes a perfect 3 a.m. saloon singer, with a sound that brings its own dim lighting and haze of nicotine. She sings for the lonely, for the losers, but without a trace of tears or sentiment. That lovely voice is so dry it could be used to salt sidewalks. It belongs to a woman who has no more pity for others than she does for herself.

Girlishly slight, with big widely spaced eyes, Ida Lupino played a lot of hard-luck waifs with bruised hearts and faces. As Warner Brothers’ backup for Bette Davis she played a lot of glamorous sufferers and scenery-chewing neurotics. But playing women who sing for their supper, Lupino settled into another character: the wised-up, independent dame who more than holds her own in a man’s world ruled by muscles, money and guns.

In The Man I Love (Raoul Walsh, 1947), Lupino’s singing was dubbed by Peg La Centra. Her throaty contralto is fairly plausible coming from Lupino’s mouth, but it’s a rather glossy, weepy sound—a fitting sound for the rather glossy, weepy melodrama this turns out to be. Nonetheless, there is much to enjoy in the tale of a nightclub singer named Petey who visits her family in Los Angeles for Christmas, sorts out their problems (a wartime tsimmes of shell-shocked husbands, straying wives, and kid brothers falling in with bad company), while fending off a lecherous nightclub owner and smiling through an unhappy love affair.

Petey is a standard tough-on-the-outside, soft-in-the-center woman’s-movie heroine, who can easily stand up to a grief-crazed gunman (she simply steps in and beats the stuffing out of the would-be assassin, sending both him and his intended victim home with their tails between their legs) but who self-punishingly devotes herself to a man who treats her badly. She falls for San (Bruce Bennett), a once-promising pianist who has been stewing in booze and self-pity ever since being given the brush by his socialite wife. San is mopey and churlish, and he plays the kind of pretentious symphonic jazz that Hollywood took for high art, but we just have to buy that she loves him. Part of the problem, of course, is that he’s played by Bruce Bennett, who is adequate but lacks the dark appeal and tortured charisma that someone like Robert Ryan or John Garfield—both of whom had terrific chemistry with Lupino—could have supplied.

The real music in the film is not Lupino’s singing but her dialogue. The lines aren’t really so brilliant, as you realize if you try to quote them, but the quick, casual way she tosses them off creates the impression of someone so sharp, so with-it, that she can’t help herself. Take her marvelous exchange with a cab driver who spouts corny old saws; she responds with an off-hand, half-amused, half-annoyed teasing that goes completely over his head. A huge hit that marked Lupino’s peak as a popular star, The Man I Love illustrates two sides of her screen persona: one high-strung and emotional, the other wisecracking and deadpan—a “strong, aged-in-the-wood woman,” to borrow from another Gershwin tune.

Just such a dame takes the spotlight in Road House (Jean Negulesco, 1948). Eyeing her in a bar, a man remarks admiringly, “She reminds me of the first woman who ever slapped my face.”

This time Lupino does her own singing, thank you very much. The script gives her cover with a story about how she studied opera in her youth, was pushed too hard and lost her voice; and with the back-handed compliment delivered by Celeste Holm, “She does more without a voice than anyone I ever heard!” It also gives her terrific songs to sing and excellent, bluesy piano arrangements. Lupino was highly musical (it was in her blood—she was descended from a long line of English music-hall entertainers), and her delivery and sense of rhythm, conveyed as much by her naked shoulders as by her face or voice, make her entirely convincing as a professional. But that voice—hoarse, spent, like the sound of someone who gargles with cheap Scotch—needs no excuses. It’s not pretty or melodic, but it sounds the way a good drink makes you feel: dry, self-possessed, casting a calm and amused eye on its own depth of feeling. Lupino stakes a solid claim to the great Harold Arlen-Johnny Mercer standard “One for My Baby (and One More for the Road),” which was written for Fred Astaire and claimed by Frank Sinatra. (It is interesting to note that the other essential saloon song, “Angel Eyes,” was introduced in the Lupino vehicle Jennifer, though she doesn’t sing it.) She makes “Again,” an alluring but potentially sappy tune, into an elegant vermouth concoction. And she really gets hot with the boogie-woogie number “The Right Kind,” standing up at the piano and giving way, just once, to uncomplicated enjoyment.

Like The Man I Love, Road House introduces Lupino as a tough cookie and then feels obliged to dunk her in a pretty soggy plot. Her early scenes are priceless: playing solitaire with her shoes off and her legs propped up on the desk of a man she’s never met; setting her cigarettes down on the edge of the piano while she plays, so they leave a row of burn marks like the notches on a gunfighter’s piece; slapping Cornel Wilde hard across the face and then crooning mockingly, “Silly boy.” She’s Lily Stevens, an entertainer from Chicago hired by the smitten Jefty (Richard Widmark) for his road house in the woods near the Canadian border. She’s magnificently jaded, with a bored mask of a face that dares you to judge her blonde hairdo rather silly; an air all the time of being detached, preoccupied, yet never missing a trick.

It might be credible that Lily would—out of sheer boredom in this wholesome one-horse town—decide to toy with Pete (Cornel Wilde), Jefty’s hostile, sulky right-hand man. But that she would find true love with this chiseled block of wood, who teaches her to bowl and takes her swimming in the lake, is not something one wants, at any rate, to believe. Halfway through, the movie shifts gears to become the story of an innocent couple persecuted by an obsessively jealous lunatic. Richard Widmark takes over, giving his fans what they want—maniacal giggles, spine-chilling cackles, and twisted streaks of pathos—but the story devolves into an overheated drama played out in a very fake sound-stage forest flooded by an overactive fog-machine.

Finally, in Private Hell 36 (1954), Lupino plays a canary who’s not required to trade her wry quips for damp hankies. By now the aging-in-wood process is complete. No smoke gets in her eyes, though there is plenty in her voice. Tears in her baby blues would be as out of place as rain-clouds in the Sahara, and her heart is now as bone-dry as her pipes. The one song she favors us with, more talked than sung, is a warning—or taunt—to any suitor that she won’t fall in love, she’s not like other women—“Didn’t you know?” The man she sings it to falls for her like a ton of bricks.

Her name is Lilli Marlowe, and when a cop who comes to question her suggests that sounds a little phony, she doesn’t deny it, but claims it’s so long since she used her real one that she can’t remember it. Bored with the interrogation, she quips, “You know, I’ve seen all this on Dragnet,” which hints at the movie’s attitude towards the genre conventions of the police procedural.

It starts like any standard-issue policier, with a robbery and murder that will spark the plot when some of the stolen money turns up in Los Angeles. A pair of detective sergeants, Cal (Steve Cochran) and Jack (Howard Duff), are assigned to track down the hot bills, which is how they wind up in a nightclub in the sleepy afternoon hours, pitching questions at the house chanteuse while she sits between them, giving nothing away except an endless supply of evasive, needling wisecracks.

Directed by Don Siegel and co-written by Lupino, Private Hell 36 was a production of The Filmmakers, the production company she formed with her then-husband Collier Young in 1948. Her original desire was to make socially conscious films about ordinary people: her early efforts cast a compassionate eye on unwed mothers (Not Wanted) and the handicapped (Never Fear). When these earnest films predictably failed to catch fire at the box office the company turned to crime, releasing tough, stripped-down gems like Lewis R. Foster’s Crashout and Lupino’s own masterpiece, The Hitch-Hiker. There was more pulp melodrama behind the scenes at The Filmmakers than in front of the camera. Lupino divorced Young but continued their business partnership; she married frequent co-star Howard Duff, though you would never guess there was anything between them from watching Private Hell 36, in which he shares a bed with Dorothy Malone while she plays sexy scenes with Steve Cochran. Collier Young would go on to marry Joan Fontaine, whom Lupino cast as her fellow wife in The Bigamist. One can only imagine what the mood was like on the sets of these films.

The central relationship in Private Hell 36 is between the two cops, longtime partners and friends but near opposites. Cal, introduced through a realistically violent brawl in which he shoots a would-be robber, is quickly established as glib, vain and callous. When Jack, a straight-arrow who has a wife and baby, mourns the death of a fellow cop, Cal shrugs, “Stop taking it so hard. He wasn’t your brother.” But the men have an easy, fraternal rapport; when Cal complains that the attempted robbery has made him late for a date, Jack suggests, “Tell her you’re sorry, you had to shoot a man. If she loves you she’ll understand.”

When the two finally track down the original thief and find a suitcase full of cash, Cal pockets some of it, urging his partner to “relax” and “take it easy.” Jack is horrified, and objects—yet he goes along with the theft, even as guilt poisons his life. Does he do it out of greed, out of loyalty to Cal, or out of fear of exposing his initial lapse? It’s hard to say, but his combination of righteous talk and weak will makes Jack hard to like, while the unscrupulous Cal grows more sympathetic as he falls for Lilli.

Their scenes together are the high point of the film. At first, they share that brand of hostile banter that film noir took over from screwball comedy, slowed down and left to simmer on the back burner. “If you’ve got time to kill, why don’t you blow your whistle and arrest somebody?” Lilli sneers when Cal shows up at her door. She doesn’t like cops. Cal pretends he’s come to follow up on the questioning about the man who gave her the $50; when he asks how long she’s known him, Lilli responds with bright bitterness, “All my life. Ever since I was a little girl I dreamed I’d meet a drunken slob in a bar who’d give me fifty bucks and we’d live happily ever after.” She takes most of the conversational tricks, but Cal can talk her language. When she sarcastically says she doesn’t know how to thank him, he leers, “I bet you do.”

If only life were like this.

Without the tiniest trace of effort, Lupino gives us a woman of the world; only the perfection of her jaded poise suggests how hard it was won. How old is she? Lupino was 36, but Lilli Marlowe is both ancient and ageless. She has heard all the questions and knows all the answers—to quote Barbara Stanwyck in The Purchase Price (1933), another world-weary nightclub singer who can’t sing worth a damn. Lilli is always tired; it always seems to be 3 a.m., and her feet hurt and her shoulders are sore and she’s seen it all and she’s sick of cops and drunks in bars who want you to sing “Smoke Gets in Your Eyes” while they cry in their beer. She lives in a drab hall bedroom with a small Scottie dog named Murgatroyd. But she hasn’t given up hoping—for a diamond bracelet, for a trip to Acapulco, for the right man to come along. More than any of these things, though, she wants her independence; to go where she wants and do as she pleases. When Cal starts getting too possessive, she tries to ditch him and head to Las Vegas.

Steve Cochran is on Lupino’s wavelength in a way that Howard Duff, onscreen, never was. Handsome and swarthy, Cochran played a lot of slick, cruel, egotistical gangsters like Big Ed in White Heat, probably his best-known role. But he was capable of much more, as he proved in Tomorrow is Another Day, an unusually delicate and character-rich B noir, and in Antonioni’s bleak, melancholy Il Grido. Cochran had a strangely sweet smile and an unexpectedly light voice; both could contribute to his icy menace, but they could also suggest a gentle soul under the macho exterior. As Cal, he portrays a shallow, selfish man who is nonetheless capable of tenderness and deep feeling; his love for Lilli is the one true thing in his grabby, amoral life.

Like so many noirs, Private Hell 36 (the number is that of the trailer Cal rents to stash their stolen loot) is about the corrupting force of money. Even Jack is not immune; when they spend time at the racetrack searching for a criminal, he speaks with bitter awe about the sight of so much money being tossed around like confetti, while he works hard for a modest living. Lilli is always talking about her desire for money and the things it buys, not so subtly implying that a man who wants her had better have the dough to afford her. Cal is acutely susceptible to this pitch, eager to dazzle her with his ill-gotten gains. She quickly intuits what he must have done and doesn’t blame him, but in the end she suddenly realizes that perhaps they don’t need the money; perhaps their love is enough.

Alas, this mature, intelligent, tough-minded film is badly marred by its ending. It’s a typically moralizing, simplifying, Code-imposed conclusion, made much worse by being far too abrupt, sketchy, and dependent on events that have happened off-screen. And it does not, as it should, give the last word to Lilli, though we can easily imagine how she will shrug her shoulders and keep going, not missing a beat. If she had the last word she would say: well, that’s how it goes. There’s no cure except to move on, so you might as well have one more for the road.

by Imogen Sara Smith

#Imogen Sara Smith #Ida Lupino #The Chiseler #noir #Private Hell 36

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officetecnologa6 · 5 years ago

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Intel presenta los procesadores Core de décima generación basados en la arquitectura Ice Lake

Una nueva clase de portátiles de gama superior

Con diez núcleos por 488 dólares estadounidenses, es posible que tenga 2 menos que su primordial rival, el AMD Ryzen X que se vende a un precio similar; mas a cambio, tienen una frecuencia base de 4,9 GHz que puede subir hasta los 5,3 GHz. Empecemos hablando del procesador que encabezará la gama Core i7 de esta próxima generación de Intel. El Core i K es un procesador de ocho núcleos y 16 hilos de proceso, con dieciseis MB de memoria caché en suma y un TDP de 125 vatios. El chip contará con una velocidad base de tres,8 GHz que alcanzará los 5 GHz en modo Turbo de un solo núcleo, y 5,1 GHz en modo Turbo Boost Max 3.0. Uno de las mejoras más significativas que tienen los procesadores de décima generación es la adición nativa de Thunderbolt 3 y Wifi seis.

“Concebida para las empresas, la plataforma Intel vPro representa una completa base de ordenadores personales destinada al desempeño, la seguridad mejorada por hardware, la capacidad de gestión y la estabilidad”, ha señalado Stephanie Hallford, vicepresidenta de Plataformas de Clientes del servicio Empresariales en Intel. “Con nuestros nuevos procesadores Intel Core vPro de 10ª generación, hemos mejorado esa sólida base de computador para poder hacer frente no solo los desafíos actuales, sino más bien también a los de los futuros ambientes de trabajo a lo largo de todo el ciclo de vida del computador personal”, ha apuntado Hallford. El 1 de agosto de dos mil diecinueve, Intel lanzó las especificaciones de las CPU Ice Lake -O bien y -Y. Las CPU de la serie Y perdieron su sufijo -Y y su nombre m3; en cambio, Intel usa un número final ya antes del género de GPU para indicar la potencia de su paquete; 0 corresponde a nueve W, cinco a quince W y siete a 28 W.

La próxima diapositiva refleja con claridad los 2 frentes principales en los que ha trabajado Intel para lograr que el rendimiento de los núcleos Sunny Cove sea mayor que el de sus precursores. Por una parte han aumentado de una forma bastante notable la capacidad de las memorias caché, que son unas memorias pequeñas mas muy rápidas colocadas entre la CPU y la memoria principal.

No es una opinión que se hayan sacado de la manga, han podido probar durante todo un día los nuevos procesadores Intel Core de décima generación, y merced a ello han podido confirmar ciertos detalles interesantes. Este treinta de Abril Intel anunciará sus procesadores Intel Core de Décima Generación “Comet Lake-S”, y dos días ya antes te traemos toda la información oficial que tenes que saber. Las innovaciones introducidas por Intel en la microarquitectura de sus chips Intel Core de décima generación son ambiciosas y tienen un calado bastante profundo, mas no vamos a estar seguros de su auténtico potencial hasta el momento en que lleguen los primeros análisis de desempeño independientes. Las primeras máquinas que incorporarán estos chips van a ser ordenadores portátiles, por lo que todavía deberemos esperar para averiguar cómo rinde la nueva microarquitectura en los escenarios de empleo críticos de los equipos de escritorio, como son los juegos y las aplicaciones que conllevan un gran sacrificio de cálculo.

«La microarquitectura Sunny Cove es la piedra angular sobre la que descansa el futuro de la familia de procesadores Intel Core». Esta concluyentes afirmación de Uri Frank, uno de los ingenieros de Intel responsables del diseño de la nueva microarquitectura, refleja con claridad lo importante que son los nuevos chips Intel Core de 10ª generación para el futuro de la compañía de Santa Clara. Intel espera lanzar la CPU Core i7-1068G7 en el primer trimestre de dos mil veinte con computadoras portátiles basadas en esta CPU que estarán disponibles en el segundo trimestre de 2020. Las diapositivas no revelan qué SKU específicos se lanzan el 30 de abril, pero contamos con 22 SKU que engloban cada extensión de marca de segmento de cliente del servicio de Intel.

Rendimiento en portátiles del calibre de un equipo de sobremesa

Intel ha hecho explícitos los diferentes niveles de gráficos integrados en lugar de incluirlos en los números de modelo. A cambio, suprimió la nomenclatura "Y" y "O bien", que señala si el chip es para una pequeña computadora portátil (Y) o bien una portátil ligeramente más grande (U).

Intel ha anunciado nuevos procesadores Intel Core para el segmento de los ordenadores portátiles. Unos procesadores que van a poner a estos dispositivos al nivel de los equipos de sobremesa en lo que se refiere a rendimiento. Intel va a ofrecer 8 nuevos procesadores divididos en las variaciones Y-series y U-series. Prometen un dieciseis por cien de mayor rendimiento respecto a los Whiskey Lake de octava generación. En la cima de la gama se halla el procesador Intel Core i HK de 10aGeneración, que ofrece un rendimiento inigualable en todos los sentidos.

De Banias a Ice Lake, pasito a pasito

El siguiente paso es "overclocking" para el enlace PCI-Express x16 (PEG) y el autobus de conjunto de chips DMI.

La décima generación de procesadores de Intel para portátiles no estará limitada a la gama Ice Lake, la que se presentó a inicios del presente mes y que se enfoca en cubrir las necesidades de equipos de mediano desempeño.

Asimismo hay algunos refinamientos a nivel de empaque, como un troquel físicamente más delgado (altura Z), dando paso a un IHS más grueso.

Intel presentó los nuevos procesadores Intel Core serie H de décima generación, con los que acerca el desempeño de los equipos de sobremesa a los ordenadores portátiles y con velocidades que superan los 5GHz.

Intel ha anunciado los nuevos procesadores Intel Core serie H de décima generación, con los que acerca el desempeño de los equipos de sobremesa a los ordenadores portátiles, y con velocidades que superan los 5GHz.

Intel se prepara para anunciar las utilidades actualizadas XTU y Performance Maximizer. Asimismo hay algunos refinamientos a nivel de empaque, como un troquel físicamente más delgado (altura Z), dando paso a un IHS más grueso. La décima generación de procesadores de Intel para portátiles no va a estar limitada a la gama Ice Lake, la cual se presentó a principios del presente mes y que se enfoca en cubrir las necesidades de equipos de mediano desempeño. El fabricante ahora ha anunciado Comet Lake, una familia de ocho chips que pretende reemplazar a los Whiskey Lake de octava generación. Su objetivo es llegar a ordenadores de mayor potencial como el MacBook Pro de quince", el Dell XPS o la Surface Notebook, por mentar ciertos modelos.

Sunny Cove: este es el auténtico órdago de Intel

Intel se centra en la velocidad del reloj en lugar de aumentar enormemente el conteo de núcleos al estilo deAMD.Intel todavía está atrapada en chips de 14 nm, mientras que el resto de la industria se ha movido a una arquitectura más pequeña, mas cree que puede compensarlo con una mayor velocidad de reloj. Eso podría tener sentido teniendo en cuenta cuántas personas compran procesadores potentes para juegos, donde todavía reinan las altas velocidades de reloj. De forma adicional, la categoría U-series también agrega la compatibilidad con memorias LPDDR4x. Los de Santa Clara aseveran que la gama Comet Lake va a estar disponible este mes, con lo que las primeras portátiles en integrarlos podrían llegar durante el último trimestre del presente año.

La familia reemplazaría a los actuales CPUs Core de novena generación, que recientemente vio el lanzamiento del navío insignia Core i9-9900KS. La última diapositiva resume los primordiales frentes en los que han trabajado los ingenieros de Intel para lograr que Ice Lake represente un paso adelante firme frente a las precedentes microarquitecturas de esta compañía. Las esperanzas de Intel están depositadas sobre la nueva tecnología de integración de diez nm, los nuevos núcleos de CPU Sunny Cove, la nueva lógica gráfica y las prestaciones auxiliares integradas en estos microprocesadores, como Wi-Fi seis o bien Thunderbolt tres. Cuando lleguen al mercado comprobaremos de qué manera rinden tanto frente a los precedentes microprocesadores Intel Core como a las últimas soluciones Ryzen de tercera generación de AMD. Uno de los bloques funcionales de la CPU en los que Intel asegura haberse esmerado es la lógica gráfica, que en los chips Ice Lake tiene una capacidad de cálculo de operaciones en coma flotante tenuemente superior a 1 TFLOP.

Basado en la frecuencia turbo máxima de 5,3 GHz del procesador Intel® Core™ i HK, que supera todos los demás productos móviles libres en abril de dos mil veinte. Intel publicó detalles de Ice Lake a lo largo del "Día de la Arquitectura Intel" en el mes de diciembre de 2018, afirmando que el núcleo de Sunny Cove Ice Lake se centraría en el rendimiento de un solo hilo, en nuevas instrucciones y mejoras de escalabilidad. Intel declaró que las mejoras de rendimiento se conseguirían haciendo que el núcleo sea "más profundo, más amplio y también inteligente".

Estos procesadores incluyen compatibilidad con Wi-Fi seis AX201 para descargas más velocidad, soporte para conexiones Thunderbolt 3 y la posibilidad de supervisar dos pantallas 4K al mismo tiempo, y mejoras en el manejo de la RAM y de la estabilidad del sistema ante picos de desempeño. Emplear tecnología más avanzada permite crear procesadores que consumen menos energía y pueden correr a más velocidad; la opción es, con una misma capacidad de procesamiento, subir la velocidad del reloj.

MSI Prestige quince A10SC-044XES Intel Core i7-10710U/16GB/512GB SSD/GTX 1650/15.6"

Entre las grandes prestaciones que ahora van a contar las nuevas notebooks con los nuevos procesadores Intel va a ser la integración de IA y cuerpos ultradelgados. Ron Senderovitz, vicepresidente de marketing de plataformas móviles de Intel, dejó claro que Ice Like se centra en la diversión y el "desempeño inteligente", mientras que Comet Lake llega para beneficiar la productividad y ejecución de labores.

El modelo más importante es el Intel Core i HK, con rendimiento de hasta 5,3 GHz Turbo para equipos portátiles. Recordemos que en los últimos tiempos Intel ha tenido más competencia que nunca, con la llegada de los procesadores Ryzen de AMD que apostaban por una mayor cantidad de núcleos. Algo que le ha pillado totalmente desprevenida, y por eso las últimas generaciones de Intel Core apenas tenían novedades destacables. Puesto que después de meses y meses de filtraciones, publicidad… ya tenemos disponible la décima generación de los Intel Core ix. Intel ha anunciado el lanzamiento de los procesadores vPro de décima generación, la variante empresarial que incluye seguridad y administración en exactamente la misma base del silicio.

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memerisor · 8 years ago

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Paul Stuart Paul Stewart (born Paul Sternberg; March 13, 1908 – February 17, 1986) was an American character actor, director and producer who worked in theatre, radio, films and television. He frequently portrayed cynical and sinister characters throughout his lengthy career. A friend and associate of Orson Welles for many years, he helped Welles get his first job in radio and was associate producer of the celebrated radio program "The War of the Worlds", in which he also performed. One of the Mercury Theatre players who made their film debut in Welles's landmark film Citizen Kane, Stewart portrayed Kane's butler and valet, Raymond. He appeared in 50 films, and performed in or directed some 5,000 radio and television shows. WIKIPEDIA Esteemed character actor Paul Stewart had a pair of the coldest orbs in town and made his living for decades playing dark, callous, shiftless villains, including a vast number of mobsters. Not a well-known name per se, he was nevertheless a reliable actor who seemed to have been born for the film noir and gangland crime drama genre with his premature silvery hair, dark thick brows and probing, deep-set eyes, all accentuated by a tough and penetrating Brooklyn accent. Born in New York City on March 13, 1908, Stewart developed an interest for acting in his teens, making his Broadway debut with "Two Seconds" in 1931, following graduation from Columbia University. He had played a few more stage roles in New York when he met and made an impression on Orson Welles. As a result he became a founding member of the Mercury Theatre and a founding member of AFTRA when it was just a radio union. Stewart's tough, guttural voice became a familiar sound on the 1930s airwaves and he was among the cast in the infamous Welles broadcast "The War of the Worlds." He married band singer/actress Peg La Centra (1910-1996) in 1939 and over the years they appeared together on many radio programs. She also provided singing voices for such stars as Susan Hayward on celluloid. Welles next put Stewart in his films, with the classic Citizen Kane (1941) as Raymond, Kane's wily valet, and Stewart found himself in demand as an untrustworthy character player. He essayed a number of stark, sinister types to perfection, with roles in such films as Johnny Eager (1941), Mr. Lucky (1943), Champion (1949), Illegal Entry (1949), Twelve O'Clock High (1949), Carbine Williams (1952), The Bad and the Beautiful (1952) and Kiss Me Deadly (1955). On TV he became a regular on a couple of short-lived series -- Top Secret (1954) and The Man Who Never Was (1966). In the 1950s Stewart turned to stage and TV directing as well, helming a number of popular crimers such as Peter Gunn (1958), Michael Shayne (1960), Perry Mason (1957), It Takes a Thief (1968), Hawaii Five-O (1968) and Remington Steele (1982). His voice also fit the bill for cartoons in the 1960s. In 1974 Stewart suffered a heart attack while on location in New Mexico for Bite the Bullet (1975), but he returned sporadically to films, including the role of impresario Florenz Ziegfeld in W.C. Fields and Me (1976). He suffered a second and fatal heart attack in 1986 at age 77. IMDB

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fameunder10dollars · 8 years ago

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Paul Stuart

Paul Stewart (born Paul Sternberg; March 13, 1908 – February 17, 1986) was an American character actor, director and producer who worked in theatre, radio, films and television. He frequently portrayed cynical and sinister characters throughout his lengthy career. A friend and associate of Orson Welles for many years, he helped Welles get his first job in radio and was associate producer of the celebrated radio program “The War of the Worlds”, in which he also performed. One of the Mercury Theatre players who made their film debut in Welles’s landmark film Citizen Kane, Stewart portrayed Kane’s butler and valet, Raymond. He appeared in 50 films, and performed in or directed some 5,000 radio and television shows.

WIKIPEDIA

———————

Paul Stuart

Esteemed character actor Paul Stewart had a pair of the coldest orbs in town and made his living for decades playing dark, callous, shiftless villains, including a vast number of mobsters. Not a well-known name per se, he was nevertheless a reliable actor who seemed to have been born for the film noir and gangland crime drama genre with his premature silvery hair, dark thick brows and probing, deep-set eyes, all accentuated by a tough and penetrating Brooklyn accent.

Born in New York City on March 13, 1908, Stewart developed an interest for acting in his teens, making his Broadway debut with “Two Seconds” in 1931, following graduation from Columbia University. He had played a few more stage roles in New York when he met and made an impression on Orson Welles. As a result he became a founding member of the Mercury Theatre and a founding member of AFTRA when it was just a radio union.

Stewart’s tough, guttural voice became a familiar sound on the 1930s airwaves and he was among the cast in the infamous Welles broadcast “The War of the Worlds.”

He married band singer/actress Peg La Centra (1910-1996) in 1939 and over the years they appeared together on many radio programs. She also provided singing voices for such stars as Susan Hayward on celluloid.

Welles next put Stewart in his films, with the classic Citizen Kane (1941) as Raymond, Kane’s wily valet, and Stewart found himself in demand as an untrustworthy character player. He essayed a number of stark, sinister types to perfection, with roles in such films as Johnny Eager (1941), Mr. Lucky (1943), Champion (1949), Illegal Entry (1949), Twelve O'Clock High (1949), Carbine Williams (1952), The Bad and the Beautiful (1952) and Kiss Me Deadly (1955).

On TV he became a regular on a couple of short-lived series – Top Secret (1954) and The Man Who Never Was (1966). In the 1950s Stewart turned to stage and TV directing as well, helming a number of popular crimers such as Peter Gunn (1958), Michael Shayne (1960), Perry Mason (1957), It Takes a Thief (1968), Hawaii Five-O (1968) and Remington Steele (1982).

His voice also fit the bill for cartoons in the 1960s. In 1974 Stewart suffered a heart attack while on location in New Mexico for Bite the Bullet (1975), but he returned sporadically to films, including the role of impresario Florenz Ziegfeld in W.C. Fields and Me (1976). He suffered a second and fatal heart attack in 1986 at age 77.

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