Thursday, September 30, 2010

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Buzz o Permalink o Tony Curtis, a classically handsome movie star who came out of the Hollywood studio system in the 1950s to find both wide popularity and critical acclaim in dramatic and comic roles alike, from “The Defiant Ones” to “Some Like It Hot,” died on Wednesday at his home in Henderson, Nev., near Las Vegas. He was 85. Enlarge This Image Agence France-Presse — Getty Images Tony Curtis with his wife Janet Leigh in 1961. More Photos » Multimedia Slide Show Tony Curtis, Film Star, Is Dead at 85 Video Tony Curtis on Screen Slide Show Tony Curtis by Al Hirschfeld Related Filmography: Tony Curtis Readers' Comments Share your thoughts. * Post a Comment » * Read All Comments (274) » The cause was cardiac arrest, the Clark County coroner said. Mr. Curtis, one of the last survivors of Hollywood’s golden age, became a respected dramatic actor, earning an Oscar nomination as an escaped convict in “The Defiant Ones,” a 1958 Stanley Kramer film. But he was equally adept in comedies; his public even seemed to prefer him in those roles, flocking to see him, for example, in the 1965 slapstick hit “The Great Race.” As a performer, Mr. Curtis drew on his startlingly good looks. With his dark, curly hair worn in a sculptural style later imitated by Elvis Presley and his plucked eyebrows framing pale blue eyes and full lips, Mr. Curtis embodied a new kind of feminized male beauty that came into vogue in the early ’50s. A vigorous heterosexual in his widely publicized (not least by himself) private life, he was often cast in roles that drew on a perceived ambiguity: his full-drag impersonation of a female jazz musician in “Some Like It Hot” (1959); a slave who attracts the interest of an aristocratic Roman general (Laurence Olivier) in Stanley Kubrick’s “Spartacus” (1960); a man attracted to a mysterious blonde (Debbie Reynolds) who turns out to be the reincarnation of his male best friend in Vincente Minnelli’s “Goodbye Charlie” (1964). But behind the pretty-boy looks was a dramatically potent combination of naked ambition and deep vulnerability, both likely products of his Dickensian childhood in the Bronx. Tony Curtis was born Bernard Schwartz on June 3, 1925, to Helen and Emanuel Schwartz, Jewish immigrants from Hungary. Emanuel operated a tailor shop in a poor neighborhood, and the family occupied cramped quarters behind the store; the parents in one room and little Bernard sharing another with his two brothers, Julius and Robert. Helen Schwartz suffered from schizophrenia and frequently beat the three boys. (Robert was later found to have the same disease.) In 1933, at the height of the Depression, his parents found they could not properly provide for their children, and Bernard and Julius were placed in a state institution. (Julius was hit by a truck and killed in 1938.) Returning to his old neighborhood, Bernard became caught up in gang warfare and the target of anti-Semitic hostility. As he recalled, he learned to dodge the stones and fists to protect his face, which he realized even then would be his ticket to greater things. In search of stability, Bernard made his way to Seward Park High School on the Lower East Side of Manhattan. During World War II he served in the Navy aboard the submarine tender U.S.S. Proteus. His ship was present in Tokyo Bay in 1945 for the formal surrender of Japan aboard the U.S.S. Missouri, which Signalman Schwartz watched through a pair of binoculars. Back in New York, he enrolled in acting classes in the workshop headed by Erwin Piscator at the New School for Social Research, where one of his colleagues was another Seward alumnus, Walter Matthau. He began getting theater work in the Catskills and caught the eye of the casting agent Joyce Selznick, who helped him win a contract with Universal Pictures in 1948. After experimenting with James Curtis, he settled on Anthony Curtis as his stage name and began turning up in bit parts in films like Anthony Mann’s “Winchester ’73” alongside another Universal bit player, Rock Hudson. Mr. Curtis’s career advanced rapidly at first. He was promoted to supporting player, billed as Tony Curtis for the first time, in the 1950 western “Kansas Raiders,” and became, he recalled, first prize in a Universal promotional contest, “Win a Weekend With Tony Curtis.” He received top billing in 1951 in the Technicolor Arabian Nights adventure “The Prince Who Was a Thief.” His co-star was Piper Laurie, and they were paired in three subsequent films at Universal, including Douglas Sirk’s “No Room for the Groom,” a 1952 comedy that allowed Mr. Curtis to explore his comic gifts for the first time. In 1951 Mr. Curtis married the ravishing MGM contract player Janet Leigh. Highly photogenic, the couple became a favorite of the fan magazines, and their first movie together, George Marshall’s “Houdini” (1953), was Mr. Curtis’s first substantial hit. Perhaps the character of Houdini — like Mr. Curtis, a handsome young man of Hungarian Jewish ancestry who reinvented himself through show business — touched something in Mr. Curtis. In any case, it was in that film that his most consistent screen personality, the eager young outsider who draws on his charm and wiles to achieve success in the American mainstream, was born. Mr. Curtis endured several more Universal costume pictures, including the infamous 1954 film “The Black Shield of Falworth,” in which he starred with Ms. Leigh but did not utter the line, “Yondah lies da castle of my foddah,” that legend has attributed to him. His career seemed stalled until Burt Lancaster, another actor who survived a difficult childhood in New York City, took him under his wing. Lancaster cast Mr. Curtis as his protégé, a circus performer who becomes his romantic rival, in his company’s 1956 production “Trapeze.” But it was Mr. Curtis’s next appearance with Lancaster — as the hustling Broadway press agent Sidney Falco, desperately eager to ingratiate himself with Lancaster’s sadistic Broadway columnist J. J. Hunsecker in “Sweet Smell of Success” (1957) — that proved that Mr. Curtis could be an actor of genuine power and subtlety. The late ’50s and early ’60s were Mr. Curtis’s heyday. Taking his career into his own hands, he formed a production company, Curtleigh Productions, and in partnership with Kirk Douglas assembled the 1958 independent feature “The Vikings,” a rousing adventure film directed by Richard Fleischer. Later that year the producer-director Stanley Kramer cast Mr. Curtis in “The Defiant Ones” as a prisoner who escapes from a Southern chain gang while chained to a fellow convict, who happens to be black (Sidney Poitier). “The Defiant Ones” may seem schematic and simplistic today, but at the time it spoke with hope to a nation in the violent first stages of the civil rights movement and was rewarded with nine Oscar nominations, including one for Mr. Curtis as best actor. It was the only acknowledgment he received from the Academy of Motion Picture Arts and Sciences in his career. Mr. Curtis began a creatively rewarding relationship with the director Blake Edwards with a semi-autobiographical role as a hustler working a Wisconsin resort in “Mister Cory” (1957). That was followed by two hugely successful 1959 military comedies: “The Perfect Furlough” (with Ms. Leigh) and “Operation Petticoat,” in which he played a submarine officer serving under a captain played by Cary Grant. Under Billy Wilder’s direction in “Some Like It Hot,” another 1959 release, Mr. Curtis employed a spot-on imitation of Grant’s mid-Atlantic accent when his character, posing as an oil heir, tries to seduce a voluptuous singer (Marilyn Monroe). His role in that film — as a Chicago musician who, with his best friend (Jack Lemmon), witnesses the St. Valentine’s Day Massacre and flees to Florida in women’s clothing as a member of an all-girl dance band — remains Mr. Curtis’s best-known performance. Success in comedy kindled Mr. Curtis’s ambitions as a dramatic actor. He appeared in Mr. Douglas’s epic production of “Spartacus,” directed by Stanley Kubrick, and reached unsuccessfully for another Oscar nomination in “The Outsider” (1961), directed by Delbert Mann, as Ira Hayes, a Native American who helped to raise the flag at Iwo Jima. In “The Great Impostor,” directed by Robert Mulligan, he played a role closer to his established screen personality: an ambitious young man from the wrong side of the tracks who fakes his way through a series of professions, including a monk, a prison warden and a surgeon. Mr. Curtis’s popularity was damaged by his divorce from Ms. Leigh in 1962, following an affair with the 17-year-old German actress Christine Kaufmann, who was his co-star in the costume epic “Taras Bulba.” He retreated into comedies, playing out his long association with Universal in a series of undistinguished efforts including “40 Pounds of Trouble” (1962), “Captain Newman, M.D.” (1963) and the disastrous “Wild and Wonderful” (1964), in which he starred with Ms. Kaufmann, whom he married in 1963. In “The Great Race,” Blake Edwards’s celebration of slapstick comedy, Mr. Curtis parodied himself as an impossibly handsome daredevil named the Great Leslie, and in 1967 he reunited with Alexander Mackendrick, director of “Sweet Smell of Success,” for an enjoyable satire on California mores, “Don’t Make Waves.” Mr. Curtis made one final, ambitious attempt to be taken seriously as a dramatic actor with “The Boston Strangler” in 1968, putting on weight to play the suspected serial killer Albert DeSalvo. Again under Richard Fleischer’s direction, he gave a rigorously deglamorized performance, but the film was dismissed as exploitative in many quarters and failed to reignite Mr. Curtis’s career. That year, he divorced Ms. Kaufmann and married a 23-year-old model, Leslie Allen. After two unsuccessful efforts to establish himself in series television — “The Persuaders” (1971-72) and “McCoy” (1975-76) — Mr. Curtis fell into a seemingly endless series of guest appearances on television (he had a recurring role on “Vegas” from 1978 to 1981) and supporting roles in ever more unfortunate movies, including Mae West’s excruciating 1978 comeback attempt, “Sextette.” A stay at the Betty Ford Center — he had struggled with drug and alcohol abuse — followed his 1982 divorce from Ms. Allen, but Mr. Curtis never lost his work ethic. He continued to appear in low-budget movies and occasionally in independent films of quality. He took up painting, selling his boldly signed, Matisse-influenced canvases through galleries and stores. After divorcing Ms. Allen, Mr. Curtis was married to the actress Andrea Savio (1984-92) and, briefly, to the lawyer Lisa Deutsch (1993-94). He married his sixth wife, the horse trainer Jill VandenBerg, in 1998, and with her operated a nonprofit refuge for abused and neglected horses. In addition to his wife, Mr. Curtis’s survivors include Kelly Lee Curtis and the actress Jamie Lee Curtis, his two daughters with Janet Leigh; Alexandra Curtis and Allegra Curtis, his two daughters with Christine Kaufmann; and a son, Benjamin, with Leslie Allen. A second son with Ms. Allen, Nicholas, died of a drug overdose in 1994. He published “Tony Curtis: The Autobiography,” written with Barry Paris, in 1994 and a second autobiography, “American Prince: A Memoir,” written with Peter Golenbock, in 2008, and in it he described a romance with Marilyn Monroe in 1948, when both were young, relatively unknown performers who had recently arrived in Hollywood. The affair was only a memory when they worked together a decade later, both as major stars, in “Some Like It Hot.” “Somehow working with her on ‘Some Like It Hot’ had brought a sense of completion to my feelings for her,” he wrote. “The more we talked, the more I realized that another love affair had bitten the dust.” In 2002 he toured in a musical adaptation of “Some Like It Hot,” in which he played the role of the love-addled millionaire originated by Joe E. Brown in the film. This time, the curtain line was his: “Nobody’s perfect.” His final screen appearance was in 2008, when he played a small role in “David & Fatima,” an independent budget film about a romance between an Israeli Jew and a Palestinian Muslim. His character’s name was Mr. Schwartz. A version of this article appeared in print on October 1, 2010, on page A22 of the New York edition. * comments (274) * Sign In to E-Mail * Print * Reprints Get the full newspaper experience, and more, delivered to your Mac or PC. 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Tony Curtis, Hollywood Leading Man, Dies at 85

By DAVE KEHR

Published: September 30, 2010

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Tony Curtis, a classically handsome movie star who came out of the Hollywood studio system in the 1950s to find both wide popularity and critical acclaim in dramatic and comic roles alike, from “The Defiant Ones” to “Some Like It Hot,” died on Wednesday at his home in Henderson, Nev., near Las Vegas. He was 85.

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Tony Curtis by Al Hirschfeld

Filmography: Tony Curtis

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The cause was cardiac arrest, the Clark County coroner said.
Mr. Curtis, one of the last survivors of Hollywood’s golden age, became a respected dramatic actor, earning an Oscar nomination as an escaped convict in “The Defiant Ones,” a 1958 Stanley Kramer film. But he was equally adept in comedies; his public even seemed to prefer him in those roles, flocking to see him, for example, in the 1965 slapstick hit “The Great Race.”
As a performer, Mr. Curtis drew on his startlingly good looks. With his dark, curly hair worn in a sculptural style later imitated by Elvis Presley and his plucked eyebrows framing pale blue eyes and full lips, Mr. Curtis embodied a new kind of feminized male beauty that came into vogue in the early ’50s.
A vigorous heterosexual in his widely publicized (not least by himself) private life, he was often cast in roles that drew on a perceived ambiguity: his full-drag impersonation of a female jazz musician in “Some Like It Hot” (1959); a slave who attracts the interest of an aristocratic Roman general (Laurence Olivier) in Stanley Kubrick’s “Spartacus” (1960); a man attracted to a mysterious blonde (Debbie Reynolds) who turns out to be the reincarnation of his male best friend in Vincente Minnelli’s “Goodbye Charlie” (1964).
But behind the pretty-boy looks was a dramatically potent combination of naked ambition and deep vulnerability, both likely products of his Dickensian childhood in the Bronx. Tony Curtis was born Bernard Schwartz on June 3, 1925, to Helen and Emanuel Schwartz, Jewish immigrants from Hungary. Emanuel operated a tailor shop in a poor neighborhood, and the family occupied cramped quarters behind the store; the parents in one room and little Bernard sharing another with his two brothers, Julius and Robert. Helen Schwartz suffered from schizophrenia and frequently beat the three boys. (Robert was later found to have the same disease.)
In 1933, at the height of the Depression, his parents found they could not properly provide for their children, and Bernard and Julius were placed in a state institution. (Julius was hit by a truck and killed in 1938.) Returning to his old neighborhood, Bernard became caught up in gang warfare and the target of anti-Semitic hostility. As he recalled, he learned to dodge the stones and fists to protect his face, which he realized even then would be his ticket to greater things.
In search of stability, Bernard made his way to Seward Park High School on the Lower East Side of Manhattan. During World War II he served in the Navy aboard the submarine tender U.S.S. Proteus. His ship was present in Tokyo Bay in 1945 for the formal surrender of Japan aboard the U.S.S. Missouri, which Signalman Schwartz watched through a pair of binoculars.
Back in New York, he enrolled in acting classes in the workshop headed by Erwin Piscator at the New School for Social Research, where one of his colleagues was another Seward alumnus, Walter Matthau. He began getting theater work in the Catskills and caught the eye of the casting agent Joyce Selznick, who helped him win a contract with Universal Pictures in 1948. After experimenting with James Curtis, he settled on Anthony Curtis as his stage name and began turning up in bit parts in films like Anthony Mann’s “Winchester ’73” alongside another Universal bit player, Rock Hudson.
Mr. Curtis’s career advanced rapidly at first. He was promoted to supporting player, billed as Tony Curtis for the first time, in the 1950 western “Kansas Raiders,” and became, he recalled, first prize in a Universal promotional contest, “Win a Weekend With Tony Curtis.”
He received top billing in 1951 in the Technicolor Arabian Nights adventure “The Prince Who Was a Thief.” His co-star was Piper Laurie, and they were paired in three subsequent films at Universal, including Douglas Sirk’s “No Room for the Groom,” a 1952 comedy that allowed Mr. Curtis to explore his comic gifts for the first time.
In 1951 Mr. Curtis married the ravishing MGM contract player Janet Leigh. Highly photogenic, the couple became a favorite of the fan magazines, and their first movie together, George Marshall’s “Houdini” (1953), was Mr. Curtis’s first substantial hit.
Perhaps the character of Houdini — like Mr. Curtis, a handsome young man of Hungarian Jewish ancestry who reinvented himself through show business — touched something in Mr. Curtis. In any case, it was in that film that his most consistent screen personality, the eager young outsider who draws on his charm and wiles to achieve success in the American mainstream, was born.
Mr. Curtis endured several more Universal costume pictures, including the infamous 1954 film “The Black Shield of Falworth,” in which he starred with Ms. Leigh but did not utter the line, “Yondah lies da castle of my foddah,” that legend has attributed to him. His career seemed stalled until Burt Lancaster, another actor who survived a difficult childhood in New York City, took him under his wing.
Lancaster cast Mr. Curtis as his protégé, a circus performer who becomes his romantic rival, in his company’s 1956 production “Trapeze.” But it was Mr. Curtis’s next appearance with Lancaster — as the hustling Broadway press agent Sidney Falco, desperately eager to ingratiate himself with Lancaster’s sadistic Broadway columnist J. J. Hunsecker in “Sweet Smell of Success” (1957) — that proved that Mr. Curtis could be an actor of genuine power and subtlety.
The late ’50s and early ’60s were Mr. Curtis’s heyday. Taking his career into his own hands, he formed a production company, Curtleigh Productions, and in partnership with Kirk Douglas assembled the 1958 independent feature “The Vikings,” a rousing adventure film directed by Richard Fleischer. Later that year the producer-director Stanley Kramer cast Mr. Curtis in “The Defiant Ones” as a prisoner who escapes from a Southern chain gang while chained to a fellow convict, who happens to be black (Sidney Poitier).
“The Defiant Ones” may seem schematic and simplistic today, but at the time it spoke with hope to a nation in the violent first stages of the civil rights movement and was rewarded with nine Oscar nominations, including one for Mr. Curtis as best actor. It was the only acknowledgment he received from the Academy of Motion Picture Arts and Sciences in his career.
Mr. Curtis began a creatively rewarding relationship with the director Blake Edwards with a semi-autobiographical role as a hustler working a Wisconsin resort in “Mister Cory” (1957). That was followed by two hugely successful 1959 military comedies: “The Perfect Furlough” (with Ms. Leigh) and “Operation Petticoat,” in which he played a submarine officer serving under a captain played by Cary Grant.
Under Billy Wilder’s direction in “Some Like It Hot,” another 1959 release, Mr. Curtis employed a spot-on imitation of Grant’s mid-Atlantic accent when his character, posing as an oil heir, tries to seduce a voluptuous singer (Marilyn Monroe). His role in that film — as a Chicago musician who, with his best friend (Jack Lemmon), witnesses the St. Valentine’s Day Massacre and flees to Florida in women’s clothing as a member of an all-girl dance band — remains Mr. Curtis’s best-known performance.
Success in comedy kindled Mr. Curtis’s ambitions as a dramatic actor. He appeared in Mr. Douglas’s epic production of “Spartacus,” directed by Stanley Kubrick, and reached unsuccessfully for another Oscar nomination in “The Outsider” (1961), directed by Delbert Mann, as Ira Hayes, a Native American who helped to raise the flag at Iwo Jima. In “The Great Impostor,” directed by Robert Mulligan, he played a role closer to his established screen personality: an ambitious young man from the wrong side of the tracks who fakes his way through a series of professions, including a monk, a prison warden and a surgeon.
Mr. Curtis’s popularity was damaged by his divorce from Ms. Leigh in 1962, following an affair with the 17-year-old German actress Christine Kaufmann, who was his co-star in the costume epic “Taras Bulba.” He retreated into comedies, playing out his long association with Universal in a series of undistinguished efforts including “40 Pounds of Trouble” (1962), “Captain Newman, M.D.” (1963) and the disastrous “Wild and Wonderful” (1964), in which he starred with Ms. Kaufmann, whom he married in 1963.
In “The Great Race,” Blake Edwards’s celebration of slapstick comedy, Mr. Curtis parodied himself as an impossibly handsome daredevil named the Great Leslie, and in 1967 he reunited with Alexander Mackendrick, director of “Sweet Smell of Success,” for an enjoyable satire on California mores, “Don’t Make Waves.”
Mr. Curtis made one final, ambitious attempt to be taken seriously as a dramatic actor with “The Boston Strangler” in 1968, putting on weight to play the suspected serial killer Albert DeSalvo. Again under Richard Fleischer’s direction, he gave a rigorously deglamorized performance, but the film was dismissed as exploitative in many quarters and failed to reignite Mr. Curtis’s career. That year, he divorced Ms. Kaufmann and married a 23-year-old model, Leslie Allen.
After two unsuccessful efforts to establish himself in series television — “The Persuaders” (1971-72) and “McCoy” (1975-76) — Mr. Curtis fell into a seemingly endless series of guest appearances on television (he had a recurring role on “Vegas” from 1978 to 1981) and supporting roles in ever more unfortunate movies, including Mae West’s excruciating 1978 comeback attempt, “Sextette.”
A stay at the Betty Ford Center — he had struggled with drug and alcohol abuse — followed his 1982 divorce from Ms. Allen, but Mr. Curtis never lost his work ethic. He continued to appear in low-budget movies and occasionally in independent films of quality. He took up painting, selling his boldly signed, Matisse-influenced canvases through galleries and stores.
After divorcing Ms. Allen, Mr. Curtis was married to the actress Andrea Savio (1984-92) and, briefly, to the lawyer Lisa Deutsch (1993-94). He married his sixth wife, the horse trainer Jill VandenBerg, in 1998, and with her operated a nonprofit refuge for abused and neglected horses.
In addition to his wife, Mr. Curtis’s survivors include Kelly Lee Curtis and the actress Jamie Lee Curtis, his two daughters with Janet Leigh; Alexandra Curtis and Allegra Curtis, his two daughters with Christine Kaufmann; and a son, Benjamin, with Leslie Allen. A second son with Ms. Allen, Nicholas, died of a drug overdose in 1994.
He published “Tony Curtis: The Autobiography,” written with Barry Paris, in 1994 and a second autobiography, “American Prince: A Memoir,” written with Peter Golenbock, in 2008, and in it he described a romance with Marilyn Monroe in 1948, when both were young, relatively unknown performers who had recently arrived in Hollywood. The affair was only a memory when they worked together a decade later, both as major stars, in “Some Like It Hot.”
“Somehow working with her on ‘Some Like It Hot’ had brought a sense of completion to my feelings for her,” he wrote. “The more we talked, the more I realized that another love affair had bitten the dust.”
In 2002 he toured in a musical adaptation of “Some Like It Hot,” in which he played the role of the love-addled millionaire originated by Joe E. Brown in the film. This time, the curtain line was his: “Nobody’s perfect.”
His final screen appearance was in 2008, when he played a small role in “David & Fatima,” an independent budget film about a romance between an Israeli Jew and a Palestinian Muslim. His character’s name was Mr. Schwartz.