-
DEPARTAMENTOS
INTERESSE GERAL
INTERESSE GERAL 2
LIVROS TÉCNICOS
LIVROS TÉCNICOS 2
CATEGORIAS
- IMPORTADOS
Ross Alexander
Cód:
491_9781629335841
De: R$ 0,00Por: R$ 230,94ou X de
Of all the screen juveniles groomed for stardom by Warner Brothers in the 1930s, few were touted as highly by Hal Wallis and Jack Warner as Ross Alexander. Strikingly handsome, with a sensuality that appealed to women (and men) of all ages, and possessed of a Puck-like good humor that endeared him to columnists, co-stars, and virtually everyone else in the Hollywood film community, Ross quickly became the golden boy of scene-stealers at Warners, after appearing in Flirtation Walk, with Dick Powell, Ruby Keeler, and Pat O’Brien, and Gentlemen Are Born, with Franchot Tone, Jean Muir, and Ann Dvorak. Like many of the actors in Hollywood at that time, Ross was recruited from Broadway where he played high-spirited juveniles in Let Us Be Gay, starring Charlotte Granville, Francine Larrimore and Warren William; That’s Gratitude, with Frank Craven, Thelma Marsh, and George Barbier; and After Tomorrow, with Donald Meek and Barbara Robbins—all produced by song-writer, producer-director, John Golden, who “discovered” Ross performing with Antoinette Perry (the “Tony” of Broadway theatre awards), in the long-run flop, The Ladder. While Alexander’s career at Warner’s was in the ascendant in films like A Midsummer Night’s Dream, Captain Blood, and Shipmates Forever, his marriage to actress (and New Jersey socialite) Aleta Freel had disintegrated, leading to Aleta’s suicide in December 1935. Ross’s best friend, Henry Fonda, believed that Alexander never recovered from his wife’s death, even though he continued to appear onscreen in well-regarded roles until his own suicide in January 1937. According to contemporary reports, after Alexander’s death, Warner Brothers purged his home of any and everything he might have written—poems, letters, script-notes, the works—in order to protect the studio from scandals related to Alexa
Veja mais
