A former shoeshine boy, he went on to a prodigious movie career and a prodigious life, starring in more than 100 feature films and siring 13 children. On Saturday, Anthony Quinn passed away from respiratory failure, robbing Hollywood of a true legend. Quinn was 86.
The tempestuous screen image of two-time Academy Award winner and Renaissance man Anthony Quinn matched his much-publicized, unquenchable thirst for life.
Quinn's exotic background enabled him to play a potpourri of ethnicity, ranging from an Eskimo in Savage Innocents (1960) to a Russian pope in Shoes of the Fisherman (1968), to his most famous role, Zorba the Greek (1964).
Quinn also played a plethora of historical roles like Crazy Horse in They Died with Their Boots On (1942), Attila the Hun in Attila (1955), Paul Gauguin in Lust for Life (1956) and Kubla Khan in Marco the Magnificent (1966).
The death of his Irish-Mexican father, who had ridden with Pancho Villa before settling in Los Angeles to work as a cameraman and prop man, forced the younger Quinn to help support his grandmother, mother and sister. In addition to working such positions as shoeshine boy, cement mixer and foreman in a mattress factory, Quinn also played saxophone in evangelist Aimee Semple McPherson's orchestra.
During junior high school Quinn won a chance to study and work with celebrated architect Frank Lloyd Wright, whose insistence that Quinn attend acting school to improve his speech ultimately led to his career in film.
Though Quinn acted on stage with Mae West in Clean Beds and spoke his first lines on film in Parole (both 1936), he made a lasting impression by standing up to Cecil B DeMille, who cast him as a Cheyenne Indian in 1937's The Plainsman.
As cast and crew looked on, Quinn responded to the most recent of a series of abusive outbursts from the director by telling DeMille how he should shoot the scene and where DeMille could put his $75 a day salary. After staring at the young actor for some time, DeMille announced, "The boy's right. We'll change the set-up," and later said admiringly, "It was one of the most auspicious beginnings for an actor I've ever seen."
Quinn would act in two more movies, The Buccaneer (1938) and Union Pacific (1939), for the directing legend. He would also woo and marry his adopted daughter Katherine and helm the 1958 remake of The Buccaneer, executive produced by DeMille and the director's last project before he died.
By then, Quinn had shaken free of the son-in-law tag to become a star in his own right, exhibiting tremendous staying power over the course of a career spanning seven decades, mixing inspired performances with good cured ham.
Quinn played his fair share of Indians amidst assorted heavies, even ending up with Bob Hope, Bing Crosby and Dorothy Lamour in two of the "Road" movies: Road to Singapore (1940) and Road to Morocco (1944). But despite many good notices for supporting roles in pictures like Blood and Sand (1941), The Ox-Bow Incident (1943) and Back to Bataan (1945), it would take a return to the stage to raise his stock higher.
He made his Broadway debut in The Gentleman from Athens (1947) before director Elia Kazan tapped him as Stanley Kowalski for a U.S. tour of A Streetcar Named Desire. Kazan then cast him as Marlon Brando's brother in Viva Zapata (1952), for which he earned the first of two Oscars as Best Supporting Actor.
Quinn played an aging bullfighter opposite Maureen O'Hara in Budd Boetticher's The Magnificent Matador (1955) and then won his second Best Supporting Actor Academy Award for his portrayal of larger-than-life artist Paul Gauguin in Lust for Life (1956), the title an apt description of his own zestfulness.
Finally, after 20 years in the business, he had become a full-fledged box office star, and the next year would see him garner a Best Actor Oscar nomination for his turn opposite Anna Magnani in 1957's Wild Is the Wind. Quinn followed in the prestigious footsteps of Lon Chaney and Charles Laughton as Quasimodo in The Hunchback of Notre Dame; the actor was also outstanding as the opportunistic Bedouin Auda Abu Tayi in David Lean's Lawrence of Arabia (1962).
Although Quinn had portrayed with distinction Greek patriot Colonel Andrea Stavros in 1961's The Guns of Navarone, that character paled before what would become his signature role. The very embodiment of the actor's passion for living, Zorba the Greek (1964) was a wise and aging peasant, totally committed to life, no matter the outcome. From his slapstick pursuit of aging French courtesan (Oscar-winner Lila Kedrova) to the pathos of cradling her as she died in his arms, Quinn pulled out all the emotional stops on his way to another Best Actor Oscar nomination.
Nearly 20 years later, Quinn reprised Zorba!, this time in a 1983 revival of the Broadway musical which reunited him with both Kedrovaand the film's writer-director Michael Cacoyannis. Quinn earned a Tony nomination for his efforts before touring the U.S. from 1983-86, forever stamping the part as his in the minds of the theater-going public.
Wife Kathy Benvin, who is the mother of his two youngest children, survives Quinn, along with eight sons and four daughters.
BEVERLY HILLS, Calif., March 19, 2000 - Rene Russo, the actress, didn't win any awards for her head-turning performance in "The Thomas Crown Affair." But tonight here at the Beverly Hilton, Rene Russo, the haircut, did. Welcome to the first-ever Hollywood Makeup Artist and Hair Stylist Guild Awards, where the above-the-title stars take back seats to behind-the-scenes primping professionals.
Yes, it was the beauty folks' turn to make Oscar-like acceptance speeches and bask in the praise of thankful A-list celebrities who they've made look good, "day after day, year after year, facelift after facelift," as host Rita Rudner drolly put it.
"It's the American dream that I've heard so much about. It's happening to me right now," hair stylist Enzo Angileri said, accepting the so-called Georgie award for doing Russo's do in "Thomas Crown," named best contemporary hairstyling work.
Decades ago, hair and make-up people were treated like celebrities themselves. But the list of big names attending the awards ceremony showed that, while movie and TV beauticians may no longer make it into the gossip columns, they nonetheless are held in high esteem by those who do.
"It's an art form," said actor Billy Bob Thornton, an award presenter. As if to prove that point, Thornton showed up in full make-up (complete with oily gray hair) and costume (a Slim Whitman-meets-Colonel Sanders outfit) from "Waking Up In Reno," a film he's now shooting, in which he plays an aging country singer.
"A lot of people don't realize how much time we spend in make-up, how many hours we spend being literally transformed by these artists," he said.
Other name brands handing trophies included: Holly Hunter, Brendan Fraser (greeted by cat-calls from the audience), Ellen Burstyn, Mimi Rogers, and cast members from TV shows like "That 70's Show," "Freaks and Geeks," and "Providence." Before the event, crowds of fans and electronic lined the Beverly Hilton lobby as the stars rolled in.
Tony Curtis presented the lifetime achievement award to makeup artist Monty Westmore, who recently retired after a 50-plus-year career that included more than 100 films, ranging from "The Treasure of Sierra Madre" with Humphrey Bogart to the forthcoming "How the Grinch Stole Christmas" with Jim Carrey.
Unlike the Oscars, which have been plagued by mishaps this year despite 72 years of experience, the Georgies basically survived their first go-round with almost no problems. Ballots were mailed out to the 1,100 members of the International Alliance of Theatrical Stage Employees Local 706, who voted on the 17 different award categories. And the golden statuettes, which look vaguely Oscar-like, didn't disappear en route to the event.
But note the phrase: Almost no problems. Amid the celebration, two important items were missing: The champagne and sunglasses. The champagne ordered for the ceremonies never arrived, and was believed to have been delivered to another hotel. And the Calvin Klein shades that were to be supplied by the designer label and given out to the presenters, also were no-shows.
When informed of this caper, actress Christina Applegate (of "Jesse" fame) was understandably dejected.
"Was I supposed to get some glasses?" Applegate said. "Darn."
Here's a complete look at the night's winners:
Best Contemporary Makeup (Feature) Toni G and Will Huff "The General's Daughter."
Best Period Makeup (Feature) Leonard Engleman, "Tea With Mussolini."
Best Character Makeup (Feature) Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch, "Sleepy Hollow."
Best Effects Makeup (Feature) Greg Cannom and Wesley Wofford, "Bicentennial Man."
Best Contemporary Hair Styling (Feature) Enzo Angileri "The Thomas Crown Affair."
Best Period Hair Styling (Feature) Vivian McAteer, for Cher in "Tea With Mussolini." Television TELEVISION
Best Contemporary Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) James MacKinnon and Stephanie Fowler, "Thank You Providence," "Providence."
Best Period Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham, "Triangle," "The X-Files."
Best Character Makeup (Television) Jennifer Aspinall, Felicia Linsky and Ed French, Episode #507, "Mad TV."
Best Makeup Effects (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Kenny Myers, Todd A. McIntosh, Robin Beauxchesne, Douglas Noe, and Brigette Myre-Ellis, "Living Conditions," "Buffy The Vampire Slayer."
Best Period Makeup (For a Mini-Series or Movie of the Week) Sue Cabel, Matthew Mungle and Joe Hailey, "And The Beat Goes On: The Sonny and Cher Story."
Best Character Makeup (For a Mini-Series or Movie of the Week) Douglas Noe, for Cicely Tyson in "A Lesson Before Dying."
Best Contemporary Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Darrell Fielder, Jonathan Hanousak and Joy Zapata, "The Final Frontier," "Mad About You."
Best Period Hair Styling (For a Single Episode of a Regular Series -- Sitcom, Drama or Daytime) Gabriella Pollino, Deborah Piper, Valerie Scott and Cindy Costello, "Prom Night," "That 70's Show."
Best Character Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Bride of Chaotica," "Star Trek Voyager."
Best Innovative Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Dragon's Teeth," "Star Trek Voyager."
Best Period Hair Styling (For a Mini-Series or Movie of the Week) Marlene Williams and Tim Jones "And The Beat Goes On: The Sonny & Cher Story."