Irene Dunne
Template:Short description Template:Good article Template:Use American English Template:Use mdy dates Template:Infobox person Irene Dunne Template:Post-nominals (born Irene Marie Dunn;Template:Refn December 20, 1898 – September 4, 1990) was an American actress who appeared in films during the Golden Age of Hollywood. She is best known for her comedic roles, though she performed in films of other genres.
After her father died when she was 14, Dunne's family relocated from Kentucky to Indiana. She was determined to become an opera singer, but when she was rejected by The Met, she performed in musicals on Broadway until she was scouted by RKO and made her Hollywood film debut in the musical Leathernecking (1930). She later starred in the successful musical Show Boat (1936).
Dunne starred in 42 movies and was nominated five times for the Academy Award for Best Actress—for her performances in the western drama Cimarron (1931), the screwball comedies Theodora Goes Wild (1936) and The Awful Truth (1937), the romance Love Affair (1939), and the drama I Remember Mama (1948). Dunne is considered one of the finest actresses never to have won an Academy Award. Some criticsTemplate:Who feel that her performances have been underappreciated and largely forgotten, often overshadowed by later remakes and better-known co-stars.
After the success of The Awful Truth, she was paired with Cary Grant, her co-star in that movie, two further times; in another screwball comedy, My Favorite Wife (1940), and in the melodrama Penny Serenade (1941). She has been praised by many during her career, and after her death, as one of the best comedic actresses in the screwball genre. The popularity of Love Affair also led to two additional movies with her co-star of that film, Charles Boyer; those were When Tomorrow Comes (1939) and Together Again (1944). Her last film role was in 1952 but she starred in and hosted numerous television anthology episodes until 1962 after having done numerous radio performances from the late 1930s until the early 1950s. She was nicknamed "The First Lady of Hollywood" for her regal manner despite being proud of her Irish-American, country-girl roots.
Dunne devoted her retirement to philanthropy and was chosen by President Dwight D. Eisenhower as a delegate for the United States to the United Nations, in which she advocated world peace and highlighted refugee-relief programs. She also used the time to be with her family—her husband, dentist Dr. Francis Griffin, and their daughter Mary Frances, whom they adopted in 1938. She received numerous awards for her philanthropy, including honorary doctorates, a Laetare Medal from the University of Notre Dame, and a papal knighthood—Dame of the Order of the Holy Sepulchre. In 1985, she was awarded a Kennedy Center Honor for her services to the arts.
Early lifeEdit
Irene Marie Dunn was born on December 20, 1898,Template:R at 507 East Gray Street in Louisville, Kentucky,Template:Sfnp to Joseph John Dunn, an Irish-American steamboat engineer and inspector for the United States government,Template:Sfnp and Adelaide Antoinette Dunn (née Henry), a concert pianist and music teacher of German descent from Newport, Kentucky.Template:Sfnmp She was their second child and second daughter,Template:Sfnp and had a younger brother named Charles;<ref>Template:Cite news</ref><ref>Template:Cite journal</ref> Dunne's elder sister died soon after her birth.Template:Sfnp The family alternated between living in Kentucky and St. LouisTemplate:Sfnp due to her father's job offers. He died in April 1913<ref>Template:Cite news</ref><ref>Template:Cite news</ref> from a kidney infectionTemplate:Sfnp when she was fourteen.Template:Refn She saved all of his letters and remembered, indeed lived by, what he told her the night before he died: "Happiness is never an accident. It is the prize we get when we choose wisely from life's great stores."Template:RefnTemplate:Sfnp
Following her father's death, Dunne's family moved to her mother's hometown of Madison, Indiana,<ref>Template:Cite news</ref> living on W. Second St.,Template:Sfnp in the same neighborhood as Dunne's grandparents.Template:Sfnmp Dunne's mother taught her to play the piano as a very small girl — according to Dunne, "Music was as natural as breathing in our house,"Template:Sfnp — but unfortunately for her, music lessons frequently prevented her from playing with the neighborhood kids.Template:Sfnp Her first school production of A Midsummer Night's Dream began her interest in drama,Template:Sfnp so she took singing lessons as well, and sang in local churches and high school plays before her graduation in 1916.Template:Sfnp Wanting to become a music teacher,<ref name="teacher">Template:Cite news</ref> she studied at the Indianapolis Conservatory of Music,<ref>Template:Cite news</ref>Template:Sfnp earning a diploma in 1918. Later, she auditioned for the Chicago Musical College when she visited friends during a journey to Gary, Indiana, and won a college scholarship, officially graduating in 1926.Template:Sfnmp Hoping to become a soprano opera singer, she moved to New York after finishing her second year in 1920, but failed two auditions with the Metropolitan Opera Company due to her inexperience and her "slight" voice.<ref name="Bawden"/>Template:Sfnp
CareerEdit
1920–1929: Acting beginnings, Broadway debutEdit
Dunne took more singing lessons and then dancing lessons to prepare for a possible career in musical theater.Template:Sfnp On a New York vacation to visit family friends, she was recommended to audition for a stage musical,Template:Sfnp eventually starring as the leading role in the popular play Irene,Template:Sfnp which toured major cities as a roadshow throughout 1921.<ref name="fristoe"/><ref>Template:Cite newsTemplate:Open access</ref> "Back in New York," Dunne reflected, "I thought that with my experience on the road and musical education it would be easy to win a role. It wasn't."Template:Sfnp Her Broadway debut was December 25 the following year as Tessie in Zelda Sears's The Clinging Vine.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She understudied Peggy Wood, playing the role several times in February 1923.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She then obtained the leading role when the original actress took a leave of absence in 1924.Template:Sfnp She replaced Leeta Corder in the lead role of Virginia Warewell in Ginger (1923) for the final few weeks on the production.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She was also a replacement in Lollipop (1924) on Broadway.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Supporting roles in musical theater productions followed in the shows The City Chap (1925),Template:Sfnp<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} (Dunne is credited as "Irene Dunn")</ref> Yours Truly (1927)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and She's My Baby (1928).<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Her first top-billing, leading role Luckee Girl (1928)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was not as successful as her previous projects.Template:Sfnp She would later call her career beginnings "not great furor."Template:Sfnp At this time, Dunne added the extra "e" to her surname,Template:Refn<ref name="freelance"/> which had ironically been misspelled as "Dunne" at times throughout her life until this point;<ref>Template:Cite news</ref><ref>Template:Cite newsTemplate:Open access</ref> until her death, "Dunne" would then occasionally be misspelled as "Dunn".<ref name="benefit"/><ref>Template:Cite newsTemplate:Open access</ref> Starring as Magnolia Hawks in a road company adaptation of Show Boat was the result of a chance meeting with its director Florenz Ziegfeld Jr.Template:Refn in an elevator the day she returned from her honeymoon,<ref>Template:Cite news</ref> when he mistook her for his next potential client, eventually sending his secretary to chase after her.Template:SfnpTemplate:Refn A talent scout for RKO Pictures attended a performance,Template:Sfnp and Dunne signed the studio's contract, appearing in her first movie, Leathernecking (1930),<ref name=leathernecking>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> an adaptation of the musical Present Arms.<ref>Template:Cite newsTemplate:Open access</ref> Already in her 30s when she made her first film, she would be in competition with younger actresses for roles, and found it advantageous to evade questions that would reveal her age, so publicists encouraged the belief that she was born in 1901 or 1904;<ref name="freelance"/><ref>Template:Cite news</ref> the former is the date engraved on her tombstone.<ref name="malta"/>Template:Sfnp
1930–1949: Hollywood leading ladyEdit
The "Hollywood musical" era had fizzled out, so Dunne moved to dramatic roles during the Pre-Code era, leading a successful campaign for the role of Sabra in Cimarron (1931) with her soon-to-be co-star Richard Dix,Template:Sfnp earning her first Best Actress nomination.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A Photoplay review declared, "[This movie] starts Irene Dunne off as one of our greatest screen artists."<ref>Template:Cite magazine</ref> Other dramas included Back Street (1932)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and No Other Woman (1933);<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> for Magnificent Obsession (1935),<ref name=magnificent>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> she reportedly studied Braille and focused on her posture with blind consultant Ruby Fruth.<ref>Template:Cite news</ref> This was after she and Dix reunited for Stingaree (1934),<ref name="stingaree">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> where overall consensus from critics was that Dunne had usurped Dix's star power.<ref>Template:Cite news</ref>Template:Sfnp<ref>Template:Cite news</ref> Under a new contract with Warner Bros.,<ref name="SA">Template:Cite news</ref> the remake of Sweet Adeline (1934)<ref name="SA"/><ref name="Adeline">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Roberta (1935)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> were Dunne's first two musicals since Leathernecking. Roberta also starred dancing partners Fred Astaire and Ginger Rogers, and Dunne sang four songs including "Smoke Gets in Your Eyes".Template:Refn In 1936, she starred as Magnolia Hawks in Show Boat (1936), directed by James Whale.<ref name=show1936>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Dunne had concerns about Whale's directing decisions,<ref>Template:Cite book</ref> but she later admitted that her favorite scene to film was "Make Believe" with Allan Jones because the blocking reminded her of Romeo and Juliet.<ref name="Livingstone">Template:Cite news</ref> It was during this year that Dunne's Warner Bros. contract had expired and she had decided to become a freelance actor,<ref name="freelance"/> with the power to choose studios and directors.<ref name="LA"/> She was apprehensive about attempting her first comedy role as the title character in Theodora Goes Wild (1936),<ref name=theodora>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> but discovered that she enjoyed the production process,Template:Sfnp and received her second Best Actress Oscar nomination for the performance.<ref name="theodora"/>
.jpg){kind=link}
Dunne followed Theodora Goes Wild with other romantic and comedic roles. The Awful Truth (1937)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was the first of three films also starring Cary Grant and was later voted the 68th best comedy in American cinema history by the American Film Institute.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Their screwball comedy My Favorite Wife (1940)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was praised as an excellent spiritual successor,<ref>Template:Cite news</ref><ref>Template:Cite book</ref> whereas Penny Serenade (1941)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was a "romantic comedy that frequently embraced melodrama."Template:Sfnp Dunne also starred in three films with Charles Boyer: Love Affair (1939),<ref name=loveaf>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> When Tomorrow Comes (1939),<ref name=tomorrow>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Together Again (1944).<ref name=together>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Love Affair was such an unexpected critical and financial success that the rest of Dunne and Boyer's films were judged against it;<ref>Template:Cite news</ref><ref name="missing">Template:Cite news</ref> When Tomorrow Comes was considered the most disappointing of the "trilogy,"Template:Sfnp<ref name="missing"/> and the advertising for Together Again promoted the actors' reunion more than the movie.<ref>Template:Cite news</ref> Dunne and Grant were praised as one of the best romantic comedy couples,<ref>Template:Cite news</ref> while the Dunne and Boyer pairing was praised as the most romantic in Hollywood.<ref>Template:Cite news</ref>
On her own, Dunne showed versatility through many film genres. Critics praised her comedic skills in Unfinished Business (1941)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Lady in a Jam (1942),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> despite both movies' negative reception.<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref> When the United States entered the Second World War, Dunne participated in celebrity war bond tours around the country,Template:Sfnp announcing at a rally in 1942, "This is no time for comedy. I'm now a saleswoman, I sell bonds."<ref>Template:Cite news</ref> She followed the tour with her only two war films: A Guy Named Joe (1943)Template:Refn and The White Cliffs of Dover (1944).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Despite A Guy Named JoeTemplate:'s troubled production and mixed reviews, it was one of the most successful films of the year.<ref>Template:Cite book</ref> Over 21 (1945)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was Dunne's return to comedy but the themes of war (such as her character's husband enlisting in the army) immediately dated the story,<ref>Template:Cite news</ref><ref>Template:Cite news</ref> which may have contributed to its lack of success.Template:Sfnp Strong but ladylike motherly roles in the vein of CimarronTemplate:'s Sabra would follow throughout her next films,Template:Sfnp such as Anna Leonowens in the fictionalized biopic Anna and the King of Siam (1946),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and mothers Vinnie Day in Life with Father (1947),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Marta Hanson in I Remember Mama (1948).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Dunne openly disliked Vinnie's ditziness and had rejected Life with Father numerous times,Template:Sfnp eventually taking the role because "it seemed to be rewarding enough to be in a good picture that everyone will see."<ref>Template:Cite news</ref> For I Remember Mama, Dunne worked on her Norwegian accent with dialect coach Judith Sater,<ref>Template:Cite news</ref> and wore body padding to appear heavier;<ref name="Bawden"/>Template:Sfnp Marta Hanson was her fifth and final Best Actress nomination.
1950–1962: Declining movie-star powerEdit
Dunne's last three films were box-office failures.Template:Sfnp The comedy Never a Dull Moment (1950) was accused of trying too hard.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> Dunne was excited to portray Queen Victoria in The Mudlark (1950)<ref name=mudlark>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> for a chance to "hide" behind a role with heavy makeup and latex prosthetics.<ref name="Bawden"/>Template:Sfnp It was a success in the UK, despite initial critical concern over the only foreigner in a British film starring as a well-known British monarch,<ref>Template:Cite news</ref> but her American fans disapproved of the prosthetic decisions.<ref name="Bawden">Template:Cite news</ref> The comedy It Grows on Trees (1952) became Dunne's last movie performance,<ref name=trees>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> although she remained on the lookout for suitable film scripts for years afterwards.Template:Sfnp She filmed a television pilot based on Cheaper by the Dozen that was not picked up.<ref name="Bawden"/> On the radio, she and Fred MacMurray respectively played a feuding editor and reporter of a struggling newspaper in the 52-episode comedy-drama Bright Star, which aired in syndication between 1952 and 1953 by the Ziv Company.<ref name="dunningota">Template:Cite book</ref><ref>Template:Cite news</ref> She also starred in and hosted episodes of television anthologies, such as Ford Theatre, General Electric Theater, and the Schlitz Playhouse of Stars. Faye Emerson wrote in 1954, "I hope we see much more of Miss Dunne on TV,"<ref>Template:Cite news</ref> and Nick Adams called Dunne's performance in Saints and Sinners worthy of an Emmy nomination.<ref>Template:Cite news</ref> Dunne's last acting credit was in 1962, but she was once rumored to star in unmaterialized movies named Heaven Train<ref>Template:Cite news</ref> and The Wisdom of the Serpent,<ref>Template:Cite news</ref> and rejected an offer to cameo in Airport '77.<ref name="Frye">Template:Harvp</ref> In 1954, Hedda Hopper reported a rumor that Dunne would star alongside Robert Mitchum in Charles Laughton's stage adaptation of The Web and the Rock.<ref>Template:Cite news</ref> "I never formally retired," Dunne later explained, "but an awful lot of the girls my age soldiered on in bad vehicles. [I] couldn't run around with an ax in my hand like Bette [Davis] and Joan [Crawford] did to keep things going."<ref name="Bawden"/>
Hollywood retirementEdit
Dunne was a presenter at the 1950 BAFTAs when she was in London filming The Mudlark,<ref>Template:Cite news</ref> and then represented Hollywood for the 12th Venice International Film Festival in 1951.<ref>Template:Cite news</ref> She later appeared at 1953's March of Dimes showcase in New York City to introduce two little girls nicknamed the Poster Children, who performed a dramatization about polio research.<ref>Template:Cite news</ref>
She accepted Walt Disney's offer to present at Disneyland's "Dedication Day" in 1955, and christened the Mark Twain Riverboat with a bottle containing water from several major rivers across the United States.Template:Sfnp<ref>Template:Cite news</ref><ref name="derby">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Years before, Dunne had also christened the SS Carole Lombard.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>
Dunne was the only actress to be appointed a member of the California Arts Commission between 1967 and 1970.<ref name="MLM"/><ref name="docents">Template:Cite news</ref><ref>Template:Cite news</ref> The three years were spent developing a museum exhibit called "Dimension" for visually impaired visitors<ref>Template:Cite news</ref> which officially opened on January 12, 1970,<ref name="docents"/> in the M.H. de Young Memorial Museum,<ref>M.H. de Young Memorial Museum., Sachko, D., California Arts Commission., & Touring Art Gallery for the Sighted and the Blind. (1969). Dimension, an exhibition of sculpture for the sighted and the blind. Exhibition: San Francisco, Jan. 12 – Feb. 22.</ref><ref name="docents"/> and toured California for eleven months.Template:Sfnp Dunne recorded a talking booklet,<ref>Template:Cite AV media</ref> explaining the history of the 30 sculptures on display and inviting guests to touch.Template:Sfnp
ActivismEdit
During the Second World War, Dunne joined the Beverly Hills United Service Organization,Template:Sfnp and co-founded the Clark Gable's Hollywood Victory Committee.Template:Sfnp It organized servicemen entertainment and war-bond sales tours on behalf of willing Hollywood participants.Template:Refn The National War Savings Program awarded her a certificate for her work from their Treasury Department.Template:Sfnp
In her retirement, she devoted herself primarily to humanitarianism.Template:Sfnp Some of the organizations she worked with include the Sister Kenny Foundation,<ref>Template:Cite news</ref> the American Cancer SocietyTemplate:Sfnp (becoming Chairwoman of its Field Army in 1948),<ref>Template:Cite news</ref><ref name="chairman">Template:Cite news</ref> the Los Angeles Orphanage,<ref name="courier">Template:Cite news</ref> the Archdiocesan Council of Catholic Women,<ref name="MLM"/> and was Co-Chairman of the American Red Cross.<ref name="chairman"/>Template:Sfnp<ref name="Moines">Template:Cite news</ref> She was elected president of Santa Monica's St. John's Hospital and Health Clinic<ref name="courier"/> in 1950<ref name=john>Template:Cite news</ref> (she resigned in 1966 to work in the developing council)Template:Sfnmp and became a board member of Technicolor in 1965, the first woman ever elected to the board of directors.<ref>Template:Cite news</ref>Template:Sfnp She established an African American school for Los Angeles,<ref name="well done"/> negotiated donations to St. John's through box office results,<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref> and Hebrew University Rebuilding Fun's sponsors committee.<ref name="MLM"/><ref name="about"/> Harold Stassen appointed her chairwoman for the American Heart Association's<ref>Template:Cite news</ref>Template:Sfnp women's committee on February 7, 1949,<ref name="MLM">Template:Cite book</ref><ref name="well done"/><ref>Template:Cite magazine</ref> and she held the position until February 28.Template:Sfnp She appeared in a celebrity-rostered television special Benefit Show for Retarded Children (1955)<ref name="benefit">Template:Cite news</ref> with Jack Benny as host.Template:Sfnp Dunne also donated to refurbishments in Madison, Indiana, funding the manufacture of Camp Louis Ernst Boy Scout's gate in 1939<ref>Template:Cite news</ref> and the Broadway Fountain's 1976 restoration.Template:Sfnp<ref name="sign"/> In 1987, she founded the Irene Dunne Guild, a foundation which remains "instrumental in raising funds to support programs and services at St. John's."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was reported that the Guild had raised $20 million by the time of her death.<ref name="dies88"/>
Dunne reflected in 1951: "If I began living in Hollywood today, I would certainly do one thing that I did when I arrived, and that is to be active in charity. If one is going to take something out of a community—any community—one must put something in, too."<ref>Template:Cite magazine</ref> She also hoped that charity would encourage submissive women to find independence: "I wish women would be more direct. [...] I was amazed when some quiet little mouse of a woman was given a job which seemed to be out of all proportion to her capabilities. Then I saw the drive with which she undertook that job and put it through to a great finish. It was both inspiring and surprising. I want women to be individuals. They should not lean on their husbands' opinions and be merely echoes of the men of the family[.]"<ref>Template:Cite news (Template:Url)</ref>
American delegate to the United NationsEdit
In 1957, President Eisenhower appointed Dunne one of five alternative U.S. delegates to the United Nations in recognition of her interest in international affairs and Roman Catholic and Republican causes.<ref>Template:Cite news</ref> Dunne admired the U.N.'s dedication to creating world peace,<ref>Template:Harvp: 'Says Irene: "You never for a moment forget that war and peace and life itself are at stake. When I go back home after this session of the General Assembly, I'll be an enthusiastic saleslady for the U.N. as an essential force [for] world peace in this age of atoms and outer-space moons."'</ref><ref name="gentlewoman">Template:Cite news</ref> and was inspired by colleagues' beliefs that Hollywood influenced the world.<ref>Template:Harvp: '"There are a great many thoughtful people in Hollywood," Irene says, "especially among the writers, directors, and technicians. I think they are aware of Hollywood's impact on people all over the world, but even they have no idea of how tremendous that impact is. I know now—from talking with the other U.N. delegates. And I'm going home and try to tell the people back there what an important contribution Hollywood can make, or how much harm it can do."'</ref> On September 12, she was sworn in with Herman B. Wells, Walter H. Judd, A. S. J. Carnahan, Philip M. Klutznick and George Meany.<ref>Template:Cite news</ref> She held delegacy for two years and addressed the General Assembly twice.<ref>Template:Cite news</ref> She gave her delegacy its own anthem: "Getting to Know You" because "it's so simple, and yet so fundamental in international relations today."<ref name="harvp|Bell|1958">Template:Harvp</ref> Dunne later described her Assembly request for $21 million to help Palestinian refugees as her "biggest thrill,"<ref>Template:Cite news</ref> and called her delegacy career the "highlight of my life."<ref>Template:Cite news</ref> She also concluded, "I came away greatly impressed with the work the U.N. does in its limited field—and it does have certain limits. I think we averted a serious situation in Syria, which might have been much worse without a forum to hear it... And I'm much impressed with the work the U.N. agencies do. I'm especially interested in UNICEF's work with children[,] and the health organization [.]"<ref>Template:Cite news</ref>
Political viewsEdit
Dunne was a lifelong Republican and served as a member of the Californian delegation in 1948's Republican National Convention and campaigned for Thomas Dewey in the 1944 United States presidential election<ref>Template:Cite book</ref> and Ronald Reagan in the 1966 California gubernatorial election.<ref>Template:Cite book</ref>Template:Sfnmp She accepted the U.N. delegacy offer because she viewed the U.N. as apolitical.<ref name="lateran"/><ref>Template:Harvp: "Ever since my United Nations work, for instance, they've been saying that I've gone into politics. The United Nations is a nonpolitical body."</ref> She later explained: "I'm a Nixon Republican, not a Goldwater one.Template:Refn I don't like extremism in any case. The extreme rights do as much harm as the extreme lefts."<ref name="la1970"/> Her large input in politics created an assumption that she was a member of the "Hollywood right-wing fringe," which Dunne denied, calling herself "foolish" for being involved years before other celebrities did.<ref name="lateran"/>
Personal lifeEdit
Dunne's father frequently told Dunne about his memories of traveling on bayous and lazy rivers.Template:Sfnp Dunne's favorite family vacations were riverboat rides and parades, later recalling a voyage from St. Louis to New Orleans,<ref>Template:Cite news</ref> and watching boats on the Ohio River from the hillside.<ref name="SB">Template:Cite news</ref>Template:Sfnp She admitted, "No triumph of either my stage or screen career has ever rivaled the excitement of trips down the Mississippi on the riverboats with my father."Template:Sfnp
Dunne was an avid golfer, playing the sport since high-school graduation;Template:Sfnp her husband and she often played against each other and she made a hole in one in two different games.<ref name="well done"/> They often socialized with Californian business people,<ref name="Birmingham">Template:Harvp</ref><ref name="Frye"/> but she was good friends with Loretta Young,Template:Sfnp Jimmy Stewart,Template:Sfnp Bob Hope,Template:Sfnp Rosalind Russell,Template:R Van Johnson,<ref name="shy"/> Ronald Reagan,<ref name="Frye"/> Carole Lombard,Template:Sfnp<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and George Stevens Jr.,<ref name="Frye"/> and became godmother to Young's son, Peter.<ref>Template:Cite news</ref> She and Charles Boyer's blossoming friendship in Love Affair seeped through the movie so strongly,Template:Sfnp they wrote essays about each other in the October issue of Photoplay.<ref name=Boyer>Template:Cite interview</ref><ref>Template:Cite interview</ref> Dunne also bonded with Leo McCarey over numerous similar interests, such as their Irish ancestry, music, religious backgrounds,Template:Refn and humor.Template:Sfnp School friends nicknamed her "Dunnie"Template:Sfnp and she was referred to as this in Madison High School's 1916 yearbook, along with the description "divinely tall and most divinely fair."Template:Sfnp John Cromwell, however, reportedly described her as "always [having] the look of a cat who had swallowed the canary."<ref>Template:Cite book</ref>
Dunne was popular with co-workers off-camera, earning a reputation as warm and approachable, and having a "poised, gracious manner"Template:Sfnp like royalty,<ref name="derby"/> which spilled into her persona in movies. On observing life behind the scenes of a typical day of filming in Hollywood, Jimmie Fidler noted, "There is something about Irene Dunne that makes every man in the room unconsciously straighten his tie."<ref>Template:Cite news</ref> Dunne earned the nickname "The First Lady of Hollywood"<ref name="derby"/> because "she was the first real lady Hollywood has ever seen," said Leo McCarey,<ref>Template:Cite interview</ref> with Gregory La Cava adding, "If Irene Dunne isn't the first lady of Hollywood, then she's the last one."<ref>Template:Cite speech</ref> Ironically, this title had been bestowed on her when she was a little girl when an aunt cooed "What a little lady!"Template:Sfnp When approached about the nickname in 1936, Dunne admitted it had grown tiresome but approved if it was meant as "the feminine counterpart of 'gentleman'";<ref>Template:Cite magazine</ref> a later interview she did have with the Los Angeles Times would ironically be titled "Irene Dunne, Gentlewoman."<ref name="gentlewoman" />
Her fashion tastes were often the talk of newspapers,<ref>Template:Cite news</ref><ref name="style"/> and Best Dressed lists featured her as one of the most stylish celebrities in the world.Template:R Dunne explained in a 1939 fashion-advice interview that her husband was partially responsible because he was equally stylish, but also chooses outfits based on personality, color scheme and the context of where the outfits will be worn.<ref name="style">Template:Cite news</ref> McCall's magazine later revealed Dunne chose outfits specifically designed for her by Mainbocher and Jean Louis because she did not like buying clothes in stores.<ref name="Birmingham"/>
One of Dunne's later public appearances was in April 1985, when she attended the unveiling of a bronze bust in her honor at St. John's Hospital and Health Clinic. The artwork, commissioned by the hospital from artist Artis Lane, has a plaque reading "IRENE DUNNE First Lady Of Saint John's Hospital and Health Center Foundation."<ref name="Sculpture">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="lifetime"/>
RelationshipsEdit
Between 1919 and 1922, Dunne was close to Fritz Ernst, a businessman based in Chicago who was 20 years older than she, and a member of one of the richest families in Madison, Indiana.Template:Sfnmp They frequently corresponded while Dunne was training for musical theater but when Fritz proposed, Dunne declined, due to pressure from her mother and wanting to focus on acting.Template:Sfnmp They remained friends and continued writing letters until Ernst died in 1959.Template:Sfnmp
At a New York, Biltmore Hotel supper party in 1924, Dunne met Northampton, Massachusetts-born dentist<ref>Template:Cite news</ref> Francis Griffin.Template:Sfnp<ref>Template:Cite journal (Griffin is listed at number 88)</ref> According to Dunne, he preferred being a bachelor, yet tried everything he could to meet her.Template:Sfnp To her frustration, he did not telephone her until over a month later, but the relationship strengthened and they married in Manhattan on July 13, 1927.<ref>Template:Cite journal (Dunne and Griffin's marriage license code is 19627; Dunne's name is on page 372, and Griffin's name is on page 588)</ref> They had constantly argued about the state of their careers if they ever got married,Template:Sfnp with Dunne agreeing to consider theater retirement sometime in the future and Griffin agreeing to support Dunne's acting.Template:Sfnp Griffin later explained: "I didn't like the moral tone of show business. [...] Then Ziegfeld signed her for Show Boat and it looked like she was due for big things. Next came Hollywood and [she] was catapulted to the top. Then I didn't feel I could ask her to drop her career. [I] really didn't think marriage and the stage were compatible but we loved each other and we were both determined to make our marriage work."<ref name="griffin">Template:Cite news</ref>
When Dunne decided to star in Leathernecking, it was meant to be her only Hollywood project, but when it was a box-office bomb, she took an interest in Cimarron.Template:Sfnp Soon after, she and her mother moved to Hollywood and maintained a long-distance relationship with her husband and brother in New York until they joined her in California in 1936.Template:Sfnp A family friend described their dynamic as "like two pixies together,"<ref name="Birmingham"/> and they remained married until Griffin's death on October 14, 1965,<ref>Template:Cite journal</ref><ref>Template:Cite news</ref> living in the Holmby Hills in a "kind of French Chateau"<ref>Template:Cite news</ref> they designed.<ref>Template:Harvp: "When Irene and her husband, Frank Griffin, who was a dentist, arrived in Hollywood in 1930, they bought a lot in Holmby Hills for $10[,]000 and built a two-story house on it for $40[,]000."</ref>Template:Refn A hobby they both shared was astronomy.<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref> Griffin explained the marriage had lasted so long because: "When she had to go on location for a film I arranged my schedule so I could go with her. When I had to go out of town she arranged her schedule so she could be with me. We co-operate in everything. [...] I think a man married to a career woman in show business has to be convinced that his wife's talent is too strong to be dimmed or put out. Then, he can be just as proud of her success as she is and, inside he can take a bow himself for whatever help he's been."<ref name="griffin"/> Due to Dunne's privacy,Template:Refn Hollywood columnists struggled to find scandals to write about her—an eventual interview with Photoplay included the disclaimer, "I can guarantee no juicy bits of intimate gossip. Unless, perhaps she lies awake nights heartsick about the kitchen sink in her new home. She's afraid it's too near to the door. Or would you call that juicy? No? No, I thought not."<ref>Template:Cite magazine</ref> When the magazines alleged that Dunne and Griffin would divorce, Griffin released a statement denying any marital issues.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
After retiring from dentistry, Griffin became Dunne's business manager<ref name="Frye"/> and helped negotiate her first contract.Template:Sfnp The couple became interested in real estate, later investing in the Beverly Wilshire<ref name="Frye"/> and throughout Las Vegas<ref>Template:Cite news</ref> (including co-founding and chairing the board of Huntridge Corporation),<ref>Template:Cite book</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref name="Huntridge">Template:Cite news</ref> and partnering with Griffin's family's businesses (Griffin Equipment Company and The Griffin Wellpoint Company.)<ref name="griffin"/> Griffin sat as a board member of numerous banks,<ref name="griffin"/> but his offices were relocated from Century City to their home after his death, when Dunne took over as president.<ref name="la1970">Template:Cite news</ref> They had one daughter, Mary Frances (née Anna Mary Bush; 1935Template:Refn – 2020),<ref>Template:Cite news</ref> who was adopted by the couple in 1936 (finalized in 1938) from the New York Foundling Hospital, run by the Sisters of Charity of New York.<ref>Template:Cite magazine</ref><ref name="new">Template:Cite news</ref>
ReligionEdit
Dunne was a devout Catholic laywoman,<ref>Template:Cite magazine</ref><ref>Template:Cite news</ref> who became a daily communicant.<ref>Template:Cite newsTemplate:Open access</ref> She was a member of the Church of the Good Shepherd and the Catholic Motion Picture Guild in Beverly Hills, California.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1953, Pope Pius XII<ref>Template:Cite news</ref> awarded Dunne and her husband papal knighthoods as DameTemplate:Refn and Knight of the Holy Sepulchre, respectively.<ref>Template:Cite news</ref><ref name="malta"/> Griffin also became a Knight of Malta in 1949.<ref>Template:Cite news</ref>
DeathEdit
Dunne died at the age of 91 in her Holmby Hills home on September 4, 1990,<ref name="dies88">Template:Cite news</ref> and was entombed four days laterTemplate:Sfnp next to her husband in the Calvary Cemetery, East Los Angeles.<ref name="malta">Template:Cite book</ref> She had been unwell for a year with an irregular heartbeat, and became bedridden about a month before.<ref name="freelance"/> The funeral was private with family friend Loretta Young being the only celebrity allowed to attend.<ref>Template:Cite magazine</ref>Template:Sfnp Her personal papers are housed at the University of Southern California.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
LegacyEdit
Dunne is considered one of the best actresses of The Golden Age of Hollywood never to win an Academy Award.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="rose">Template:Cite news</ref><ref>Template:Harvp: "Louisville native Irene Dunne is such a good actress that she never won an Academy Award[. This] is easily explained. Like her frequent co-stars Cary Grant and Charles Boyer, Miss Dunne was so consistently splendid she was always taken for granted at Oscar time."</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After I Remember Mama was released, Liberty magazine hoped she would "do a Truman" at the 1949 Oscars<ref>Template:Cite magazine</ref> whereas Erskine Johnson called her and Best Actor nominee Montgomery Clift the dark horses of that ceremony.<ref>Template:Cite news</ref> In 1985, Roger Fristoe said "a generation of filmgoers is mostly unfamiliar with her work" because elevenTemplate:Sfnp<ref name="rose"/> of her movies had been remade, including Love Affair (remade as An Affair to Remember), Show Boat (remade in 1951), My Favorite Wife (remade as Move Over, Darling),<ref>Template:Cite news</ref><ref>Template:Cite book</ref> and Cimarron (remade in 1960).Template:R Dunne explained she had lacked the "terrifying ambition" of some other actresses, commenting in 1977, "I drifted into acting and drifted out. Acting is not everything. Living is."<ref>Template:Cite book</ref><ref>Template:Cite interview</ref> {{#invoke:Infobox|infobox}}Template:Template other
Although known for her comedic roles, Dunne admitted that she never saw comedy as a worthy genre, even leaving the country to attend the London premiere of Show BoatTemplate:Sfnp with her husband and James Whale to get away from being confronted with a script for Theodora Goes Wild.Template:Sfnp "I never admired a comedienne," she said retrospectively, "yet it was very easy for me, very natural. It was no effort for me to do comedy at all. Maybe that's why I wasn't so appreciative of it."Template:Sfnp She ascribed her sense of humor to her late father,Template:Sfnp as well as her "Irish stubbornness."Template:Sfnp Her screwball comedy characters have been praised for their subversions to the traditional characterisation of female leads in the genre, particularly Susan (Katharine Hepburn) in Bringing Up Baby and Irene (Carole Lombard) in My Man Godfrey. "Unlike the genre's stereotypical leading lady, who exhibits bonkers behaviour continuously, Dunne's screwball heroine [in Theodora Goes Wild] chooses when she goes wild," writes Wes D. Gehring,Template:Sfnp who also described Dunne's screwball as situational because her characters often obfuscate wackiness to attract the male lead, and could turn it off when needed.<ref>Template:Cite book</ref>
Biographers and critics argue that Dunne's groundedness made her screwball characters more attractive than those of her contemporaries. In his review for My Favorite Wife, Bosley Crowther wrote that a "mere man is powerless" to "her luxurious and mocking laughter, her roving eyes and come-hither glances."<ref>Template:Cite news</ref> Maria DiBattista points out that Dunne is the "only comic actress working under the strictures of the Production Code" who ends both of her screwball movies alongside Cary Grant with a heavy implication of sharing a bed with him, "under the guise of keeping him at bay."<ref>Template:Cite book</ref> Frankie Teller claimed Dunne's sexiness had been overshadowed by her melodramatic movies until The Awful Truth was released.<ref>Template:Cite news</ref> Meanwhile, outside of comedy, Andrew Sarris theorized that Dunne's sex appeal is due to the common narrative in her movies about a good girl "going bad."<ref name="Sarris">Template:Cite news</ref> Dunne's backstage "First Lady" reputation furthered Sarris' sex appeal claims, admitting the scene when she shares a train carriage with Preston Foster in Unfinished Business was practically his "rite of passage" to a sex scene in a film,<ref name="Sarris"/> theorizing that the sex appeal of Dunne came from "a good girl deciding thoughtfully to be bad."<ref name="Sarris"/> On the blatant eroticism of the same train scene, Megan McGurk wrote, "The only thing that allowed this film to pass the censors was that good-girl Irene Dunne can have a one-night stand with a random because she loves him, rather than just a once-off fling. For most other women of her star magnitude, you could not imagine a heroine without a moral compass trained on true north. Irene Dunne elevates a tawdry encounter to something justifiably pure or blameless. She's just not the casual sex type, so she gets away with it."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The Los Angeles Times referred to Dunne's publicity in their obituary as trailblazing, noting her as one of the first actors to become a freelancer in Hollywood during its rigid studio system through her "non-exclusive contract that gave her the right to make films at other studios and to decide who should direct them,"<ref name="LA"/> and her involvement with the United Nations as a decision that allowed entertainers from movies and television to branch out into philanthropy and politics, such as Ronald Reagan and George Murphy.<ref name="LA"/>Template:Sfnp
Dunne later said, "Cary Grant always said that I had the best timing of anybody he ever worked with."Template:Sfnp Lucille Ball admitted at an American Film Institute seminar that she based her comedic skills on Dunne's performance in Joy of Living,Template:Sfnp Joan Leslie called her an "outstanding example as a woman and a star."Template:Sfnp Charles Boyer described her having "an irrepressible youthfulness"<ref name="Boyer"/> and Ralph Bellamy described working in three films with her as "like a three-layered cake with candles[. She was] truly professional, extremely talented, and socially attractive and beautiful."Template:Sfnp When asked about life after retiring from baseball, Lou Gehrig stated he would want Dunne as a screen partner if he ever became a movie actor.<ref>Template:Cite book</ref> Charles Mendl once called her one of the most attractive and fascinating women in the world "who has beauty as an accomplished actress and sophisticated conversationalist."<ref>Template:Cite news</ref> Dunne told James Bawden in 1977: "Now don't you dare call me normal. I was never a Pollyanna. There was always a lot of Theodora in me."<ref name="Bawden"/>
In 2006, a historical marker was erected on 105 E. Main Street in Madison, Indiana, to honor her contributions to the state.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Awards and nominationsEdit
Template:Multiple image Dunne received five Best Actress nominations during her career: for Cimarron (1931), Theodora Goes Wild (1936), The Awful Truth (1937), Love Affair (1939) and I Remember Mama (1948); she was the first actor to lose against the same actor in the same category twice, losing to Best Actress winner Luise Rainer in 1936 and 1937.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> When asked if she ever resented never winning, Dunne pointed out that the nominees she was up against had strong support, believing that she would never have had a chance, especially when Love Affair was against Gone with the Wind.<ref name="Bawden"/> "I don't mind at all," she told Joyce Haber, "Greta Garbo never got an Oscar either [and] she's a living legend."<ref name="haber">Template:Cite news</ref>
However, Dunne was honored numerous times for her philanthropy from Catholic organizations and schools, receiving the University of Notre Dame's Laetare Medal,Template:Sfnp and the Bellarmine Medal from Bellarmine College.<ref name="fristoe"/> She received numerous honorary doctorates,<ref name="seven">Template:Cite news</ref> including from Chicago Musical College (for music),<ref name="motion">Template:Cite magazine</ref> Loyola University and Mount St. Mary's College (both for Law).Template:Sfnp<ref name="LA">Template:Cite news</ref> For her film career, she was honored by the Kennedy Center,<ref name=ken>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> a star on the Hollywood Walk of Fame at 6440 Hollywood Blvd,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and displays in the Warner Bros. Museum and Center for Motion Picture Study.<ref>Academy of Motion Picture Arts and Sciences, Margaret Herrick Library, 2000, Gifts of Vanna Bonta</ref> A two-sided marker was erected in Dunne's childhood hometown of Madison in 2006.<ref>Template:Cite news</ref><ref name="sign">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
| Award | Year | Template:Abbr | ||
|---|---|---|---|---|
| American Society for the Hard of Hearing's Best Diction Award | 1936 | Template:Sfnp | ||
| Chicago Musical College honorary Doctor of Music | 1945 | <ref>Template:Cite news</ref>Template:Sfnp<ref name="teacher"/> | ||
| Grauman's Chinese Theatre Handprints | 1946 | <ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref><ref>{{#invoke:citation/CS1|citation |
CitationClass=web
}}</ref> |
| NCCJ's American Brotherhood Award | 1948 | <ref>Template:Cite news</ref><ref name="about">{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref><ref name="Moines" /> | |
| Laetare Medal | 1949 | Template:Sfnp<ref>Template:Cite news</ref> | ||
| American Heart Association Gold Medal | <ref>Template:Cite journal</ref><ref name="Courier">Template:Cite news</ref> | |||
| Protestant Motion Picture Council AwardTemplate:Refn | <ref name="well done">Template:Cite news</ref> | |||
| American Motherhood Pictures Award | <ref name="well done"/> | |||
| Woman's Voice of the Year | <ref name="chairman"/><ref>Template:Cite news</ref> | |||
| Lateran Cross | 1951 | <ref name="lateran">Template:Cite news</ref> | ||
| Los Angeles Times Woman of the Year | <ref name="lateran"/> | |||
| New York Dress Institute's International Best Dressed Women | <ref name="duchess">Template:Cite news</ref> | |||
| Dame of the Holy Sepulchre | 1953 | <ref name="malta"/><ref name="Sepulchre"/><ref>Template:Cite news</ref> | ||
| Honorary member of the Madison Chamber of Commerce | 1954 | <ref>Template:Cite news</ref> | ||
| International Best Dressed List | 1958 | <ref name="Vanity">Template:Cite magazine</ref> | ||
| Indiana's Woman of the Year | <ref>Template:Cite news</ref> | |||
| Loyola University honorary Law degree | <ref>Template:Cite news</ref> | |||
| Seattle University honorary Law degree | 1959 | <ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref> | ||
| St. Mary's College honorary Law degree | 1964 | <ref name="Sepulchre">Template:Cite news</ref><ref>Template:Cite news</ref> | ||
| Bellarmine Medal | 1965 | <ref name="fristoe">Template:Harvp</ref><ref>Template:Cite news</ref> | ||
| Mannequins of the Assistance League of Southern California's Golden Eve Award | 1967 | Template:Sfnp | ||
| Colorado Women of Achievement | 1968 | <ref name="seven"/> | ||
| St. John's Hospital and Health Center's Lifetime Trustee | 1982 | <ref name="lifetime">Template:Cite newsTemplate:Open access</ref> | ||
| Irene Dunne Guild bust | 1985 | <ref name="Sculpture"/> | ||
| Kennedy Center Honoree | <ref name="ken"/> |
PerformancesEdit
Irene Dunne credits details her film, television and radio credits.
Box–office rankingEdit
- 1936: 17th
- 1938: 23rd
- 1939: 24th
- 1944: 19th
- 1948: 24th
DiscographyEdit
"Lovely to Look At" was the only song Dunne performed in a non-musical movie that entered the Billboard charts, peaking at number 20 in early June 1935.Template:Sfnp<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
| Year | Single | Credits | Format | Labels (serial number) | Ref. |
|---|---|---|---|---|---|
| 1935 | "When I Grow Too Old to Dream"/"Lovely to Look At" | Template:Bulleted list | 78 rpm | Template:Bulleted list | Template:Sfnp |
Decca Records released Dunne's only album, titled Irene Dunne in Songs from the Pen of Jerome Kern,Template:Refn which contained recordings of six show tunes composed by Jerome Kern. It was recorded between July 16 and August 24, 1941, with Victor Young's orchestra,<ref name=amount>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> making Dunne another singing movie star to create a Jerome Kern album.<ref>Template:Cite news</ref>
ReferencesEdit
NotesEdit
CitationsEdit
Other sourcesEdit
- Template:Cite book
- Template:Cite news
- Template:Cite news
- Template:Cite interview
- Template:Cite interview
- {{#invoke:citation/CS1|citation
|CitationClass=web }}
- Template:Cite book
- Template:Cite news
- Template:Cite news
- Template:Cite news
- {{#invoke:citation/CS1|citation
|CitationClass=web }}
Further readingEdit
BooksEdit
InterviewsEdit
ArticlesEdit
- {{#invoke:citation/CS1|citation
|CitationClass=web }}
- Template:Cite magazine
- Template:Cite magazine
- Template:Cite magazine
- "Irene Dunne (1904–1990): A Bright Star," Filmnews,by Peter Kemp November 1990.
- Template:Cite news
- "Irene Dunne: The Awesome Truth," Film Comment (New York), by James McCourt January/February 1980.
- "Irene Dunne: Native Treasure," Close-Ups: The Movie Star Book, DeWitt Bodeen, edited by Danny Peary, New York, 1978.
- Irene Dunne, in Films in Review (New York), Madden, J. C., December 1969.
OtherEdit
- Template:Url (from 2:11)
External linksEdit
Template:Sister project Template:Sister project
- [https://www.imdb.com/{{#if: 2050
| name/{{#if:{{#invoke:ustring|match|1=2050|2=^nm}}
| Template:Trim/
| nm0002050/
}}
| {{#if: {{#property:P345}}
| name/Template:First word/
| find?q=%7B%7B%23if%3A+%0A++++++%7C+%7B%7B%7Bname%7D%7D%7D%0A++++++%7C+%5B%5B%3ATemplate%3APAGENAMEBASE%5D%5D%0A++++++%7D%7D&s=nm
}}
}}{{#if: 2050 {{#property:P345}} | {{#switch:
| award | awards = awards Awards for | biography | bio = bio Biography for
}}}} {{#if:
| {{{name}}}
| Template:PAGENAMEBASE
}}] at IMDb{{#if: 2050{{#property:P345}}
| Template:EditAtWikidata
| Template:Main other
}}{{#switch:{{#invoke:string2|matchAny|^nm.........|^nm.......|nm|.........|source=2050|plain=false}}
| 1 | 3 = Template:Main otherTemplate:Preview warning | 4 = Template:Main otherTemplate:Preview warning
}}{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:IMDb name with unknown parameter "_VALUE_"|showblankpositional=1| 1 | 2 | id | name | section }}
- {{#if: {{#property:P1220}}
| [https://www.ibdb.com/broadway-cast-staff/{{#if:
| {{{id}}}
| Template:First word
}} {{#if:
| {{{name}}}
| Template:PAGENAMEBASE
}}] at the Internet Broadway DatabaseTemplate:EditAtWikidataTemplate:WikidataCheck{{#ifeq:0|0|{{#if:||}}}}
| {{IBDB name}} template missing ID and not present in Wikidata.{{#ifeq:0|0|}}
}}
- Template:Tcmdb name
- {{#if:|Template:PAGENAMEBASE discography at Discogs|{{#if:Template:Wikidata|Template:Wikidata Template:PAGENAMEBASE discography at DiscogsTemplate:EditAtWikidata|Template:PAGENAMEBASE discography at Discogs}}}}
- Template:Url Film Reference by Jeanine Basinger
- Template:Url
- Template:Internet Archive author
Template:Kennedy Center Honorees 1980sTemplate:Portal bar Template:Authority control