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 to an end in 1842, and he was succeeded by James Oliver Van de Velde. He spent the next two years as superior of the Jesuit residence in St. Charles, Missouri, and pastor of St. Charles Borromeo Church. Later years
Verhaegen was made the provincial superior of the Jesuit Maryland province on January 4, 1845, replacing James A. Ryder. He would hold the position until January 26, 1848, when he returned to Missouri and was succeeded by Ignatius Brocard.In 1848, he became the first president of St. Joseph's College in Bardstown, Kentucky, which was newly under the control of the Missouri Vice Province. He proved to be popular among the students, but his health began to deteriorate, and he resigned the presidency three years later. He once again became the superior of the Jesuit residence in St. Charles. In 1857, Verhaegen returned to Saint Louis University as the chair of theology and professor of moral and dogmatic theology at the Jesuit scholasticate. He also delivered lectures at St. Francis Xavier College Church. When the scholasticate was removed the following year from the university to College Hill, Verhaegen retired to the residence in St. Charles, where he died on July 21, 1868. He was buried in the Jesuit cemetery in Florissant, Missouri.References

Citations

Sources

1800 births
1868 deaths
Presidents of Saint Louis University
Belgian emigrants to the United States
People from Flemish Brabant
19th-century Belgian Jesuits
Jesuit missionaries in the United States
Belgian Roman Catholic missionaries
Provincial superiors of the Jesuit Maryland Province
19th-century American Roman


type: original

texts:
<mask> (7 February 1926 – 23 December 2013), or colloquially GSS, was an Indian Kannada poet, writer and researcher who was awarded the title of Rashtrakavi (national poet) by the Government of Karnataka in 2006. Kannada

Early life
<mask>pa was born on 7 February 1926 in Issur Village, Shikaripura Taluk, in Shivamogga district of Karnataka. He died on 23 December 2013 in Bangalore. His father was a school teacher. He did his primary and secondary schooling in Shikaripura. Education
<mask> gained his BA in 1949 and MA in 1953 from University of Mysore, having secured gold-medals on three occasions. He was a student and follower of Kuvempu and was heavily inspired by Kuvempu's literary works and life.In 1965, G.S<mask> secured a doctorate for his thesis <mask>arya <mask>ekshe (Kannada : ಸೌಂದರ್ಯ ಸಮೀಕ್ಷೆ), written under the guidance of Kuvempu, a pioneering work in the field of literary aesthetics. This is an erudite study of the aesthetic dimensions of ancient and modern Kannada literature. Professional life
<mask> started his career in 1949 as a lecturer in Kannada language at the Mysore University. In 1963, he joined Hyderabad's Osmania University as a reader, eventually becoming the head of the Kannada department. He remained at Osmania University until 1966. In 1966, <mask> joined the Bangalore University as a professor.He was later elected as the director of the university and he continued to contribute to the university's Kannada Study Center (Kannada : ಕನ್ನಡ ಅಧ್ಯಯನ ಕೇಂದ್ರ). He served as a lecturer in Kannada in places like Davanagere, Shivamogga and Mysore. He shifted his base to the Bangalore University in 1966 and retired from services in 1986 as the Director, Centre of Kannada Studies. He was the president of the Karnataka Sahitya Academy during 1987–90. Later life and death
<mask>pa has worked as a Kannada professor at the Maharaja's College, Mysore and later at the Postgraduate Kannada Department of Bangalore

masks:
Guggari Shanthaveerappa Shivarudrappa
Shivarudrap
Shivarudrappa
. Shivarudrappa
Sound
Same
Shivarudrappa
Shivarudrappa
Shivarudrap


texts:
 University. He died on 23 December 2013 at his Banashankari, Bangalore residence. The State Government declared a two-day mourning in his honour.Significant contributions

<mask>.S. is prominent among the small band of scholars who have negotiated ancient Kannada literature from the perspective of a modern literary critic and a historian. He has not evinced much interest in elementary disciplines such as textual criticism and manuscriptology. He has not pursued disciplines like prosody and grammar in a mechanical manner. However, he has examined literary works in their cultural context and made a successful attempt to make them relevant in the modern society. His erudition in Indian Poetics, Western Poetics and literary theory has enabled him to use literary critical tools in the analysis of ancient texts. For instance, his "Kannada Sahitya Sameekshe" is an invaluable attempt of delineating literary history in the context of literary movements and forms.He has written scores of articles on ancient poets of Kannada and most of them are illuminated by critical insights and innovative methodology. His writings on Harihara, Raghavanka, Ratnakaravarni and Pampa are particularly significant. "Kannada Kavigala Kavyakalpane" delineates the literary theory propounded by our ancient poets in their creative texts. "Mahakavya Svaroopa" enunciates the literary genre of the epic, again in the context ancient Kannada literature. He has published an abridged edition of "Shabarashankaravilasa' by <mask>va in collaboration with Prof B.N.<mask>. "Karmayogi" is a novel based on the life of <mask>ama the well known Veerashaiva saint of the twelfth century. The publication of "Samagra Kannada Sahitya Charitre" in six volumes under his editorship is an important contribution to the historiography of Kannada literature."Samanyanige Sahitya Charitre" is a ten volume series trying to bring the history of Kannada literature within the reach of an

masks:
G S
Shadakshrade
Shastry
Siddar


texts:
 informed common man. This series does not make any compromise in terms of complexity but appeals to one and all with its non-pedantic style. The annual seminars conducted by the department of Kannada during his tenure have occasionally addressed themes related to ancient literature. "Pampa-Ondu Adhyayana", "Shravana Belagola - Ondu Sameekshe" and "Karnataka Janapada" illustrate this point. He also published "Sahitya Vaarshika" in 13 volumes every year from 1971–1983. It's a landmark work by any university or institution till to the date. He was the executive editor of six anthologies brought by the Karnataka Sahitya Academy.Two of them dealing with twentieth century literary research and literary criticism, include ancient Kannada literature and culture within their purview. He has penned a lot of Bhavageethes in Kannada. The most famous being "Ede Tumbi Hadidenu". His songs sung by C Ashwath mesmerized audiences. Rashtrakavi
<mask>pa was honoured with the title of Rashtrakavi (Sanskrit for "Poet of the Nation") by the Government of Karnataka during the Suvarna Karnataka (Golden Jubilee celebrations of Karnataka) occasion on 1 November, the Kannada Rajyotsava day, 2006. He was the third Kannada poet to be honoured with this prestigious title of Rashtrakavi, after <mask> Pai and Kuvempu. Literary works

Collection of poems
 <mask>amagaana
 Cheluvu-Olavu
 Devashilpa
 Deepada Hejje
 Chakragathi
 Anaavarana
 Tereda Daari
 <mask>hya
 Teerthavaani
 Kaarthika
 Kaadina Katthalalli
 Agniparva
 Yede Tumbhi Haadidenu
 Nooraru Kavithegalu
 Samagra Kavya
nana hanathe

Criticism
 Parisheelana
 Vimarsheya Poorva Pashchima
 <mask>arya <mask>ekshe (PhD thesis)
 Kaavyaartha Chintana
 Gattibimbha
 Anuranana
 Pratikriye
 Kannada <mask>hithya <mask>ekshe
 Mahakavya Swaroopa
 Kannada Kavigala Kaavyakalpane
 Desiyatheyalli Aralida Datta Pratibhe
 Yavudoo Sannadalla
 Pampa : Ondu Adhyayana
 Samagra Kannada Sahitya Charitre – A history of

masks: Shivarudrap Goda Sa Godktad Sound Same Sa Same


texts:
 Kannada literature and language and its growth over the centuries
 Kuvempu - Punaravalokana/Kuvempu - a Reappraisal – A biographical work on Kuvempu, done for Government of Karnataka

 Travelogues
 Moscowdalli 22 dina (22 Days in Moscow) – Winner of Soviet Land Nehru Award.Englandinalli Chaturmaasa (Four months in England)
 Americadalli Kannadiga (Kannadiga in America)
 Gangeya <mask> (In the Crest of the River Ganges)

Biography
 <mask>yogi <mask>ama
 Shri Kuvempu
 Kavi Bendre
 Fakeer <mask>thi

Autobiography
 Chaturanga

 Works on GSS

 Gourava A Felicitation Volume about the Life and Literature of G. S. <mask>pa
 Hanate A Felicitation Volume about the Life and Literature of G. S. <mask>rappa
 Aakashadeepa A Felicitation Volume about the Life and Literature of G. S<mask>rappa
 G. S. <mask>pa (Biography) by H. S. Venkateshamurthy
 G. S. S. <mask>chaya (An Anthology of Selected Writings)
 Government of Karnataka had published his Complete Works in 9 Volumes at the subsidized price. Awards and honours

 Soviet Land Nehru Award – 1973
 Kendra Sahithya Academy Award – 1984 (for the work, Kaavyartha Chintana)
 Pampa Award – 1998
 President of 61st All India Kannada Sahithya Sammelana, which took place in Davanagere
 Karnataka Sahithya Academy Honorary Award – 1982
 Maasthi Award - 1995
 Nadoja Award from Kannada University
 Honorary Doctorate from Bangalore University and Kuvempu University
 Rashtrakavi Award (Poet of the Nation'') – 2006
 Sahitya Kala Kaustubha - 2010
 Nrupatunga Award - 2009

References

External links

1926 births
2013 deaths
Kannada people
Kannada poets
Kannada-language writers
People from Shimoga district
Recipients of the Sahitya Akademi Award in Kannada
University of Mysore alumni
Maharaja's College, Mysore faculty
Maharaja's College, Mysore alumni
Rashtrakavi
20th-century Indian poets
Poets from Karnataka
Bangalore University faculty
Indian male poets
20th-century Indian male writers
Osmania

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Shikharagalalli
Shiva
Siddar
Mohan Senapa
Shivarudrap
Shivarud
. Shivarud
Shivarudrap
San


texts: <mask> (; April 14, 1925July 9, 2002) was an American actor, noted for his portrayal of offbeat, often volatile and crazed characters. Cited as "one of Hollywood's most charismatic and dynamic stars," he is closely associated with the art of method acting, embodying the characters he played, which at times led to clashes with directors and co-stars. He starred as Marlon Brando's mobster brother Charley in On the Waterfront (1954), the title character Sol Nazerman in The Pawnbroker (1964), and as police chief Bill Gillespie opposite Sidney Poitier in the film In the Heat of the Night (1967) which won him the Academy Award for Best Actor. Steiger was born in Westhampton, New York, the son of a vaudevillian. He had a difficult childhood, with an alcoholic mother from whom he ran away at the age of 16. After serving in the South Pacific Theater during World War II, he began his acting career with television roles in 1947, and went on to garner critical acclaim for his portrayal of the main character in the teleplay "Marty" (1953). He made his stage debut in 1946, in a production of Curse you, Jack Dalton!at the Civic Repertory Theatre of Newark, and subsequently appeared in productions such as  An Enemy of the People (1950), Clifford Odets's Night Music (1951), Seagulls Over Sorrento (1952) and Rashomon (1959). <mask> made his film debut in Fred Zinnemann's Teresa in 1951, and subsequently appeared in films such as The Big Knife (1955), Oklahoma! (1955), Jubal (1956), Across the Bridge (1957) and Al Capone (1959). After <mask>'s performance in The Pawnbroker in 1964, in which he played an embittered Jewish Holocaust survivor working

masks:
Rodney Stephen Steiger
Steiger
Steiger


texts:
 as a pawnbroker in New York City, he portrayed an opportunistic Russian politician in David Lean's Doctor Zhivago (1965). In the Heat of the Night (1967) won five Academy Awards, including Best Picture and Best Actor for <mask>, who was lauded for his performance as a Mississippi police chief who learns to respect an African-American officer (Poitier) as they search for a killer. The following year, he played a serial killer of many guises in No Way to Treat a Lady. During the 1970s, Steiger increasingly turned to European productions in his search for more demanding roles.He portrayed Napoleon Bonaparte in Waterloo (1970), a Mexican bandit in Sergio Leone's Duck, You Sucker! (1971), Benito Mussolini in Last Days of Mussolini (1975), and ended the decade playing a disturbed priest in  The Amityville Horror (1979). By the 1980s, heart problems and depression took its toll on <mask>'s career, and he found it difficult to find employment, agreeing to appear in low-budget B movies. One of his final roles was as judge H. Lee Sarokin in the prison drama The Hurricane (1999), which reunited him with In the Heat of the Night director Norman Jewison. <mask> was married five times, and had a daughter, opera singer <mask>, and a son, <mask>. He died of pneumonia and kidney failure as a result of complications from surgery for a gall bladder tumor on July 9, 2002, aged 77, in Los Angeles, and was survived by his fifth wife Joan Benedict <mask>. Early life and acting background

Steiger was born on April 14, 1925, in Westhampton, New York, the only child of Lorraine (née Driver) and <mask>, of French, Scottish and German descent.<mask> was

masks:
Steiger
Steiger
Steiger
Anna Steiger
Michael Steiger
Steiger
Frederick Steiger
Rod


texts: raised as a Lutheran. He never knew his father, a vaudevillian who had been part of a travelling song-and-dance team with Steiger's mother, but was told that he was a handsome Latino-looking man, who was a talented musician and dancer. Biographer Tom Hutchinson describes him as a "shadowy, fugitive figure," one who "haunted" <mask> throughout his life and was an "invisible presence and unseen influence." Hutchinson described Steiger's mother as "plump, energetic and small, with long auburn hair." She had a good singing voice and nearly became a Hollywood actress, but after a leg surgery permanently impaired her walking ability, she gave up acting and turned to alcohol. As a result, she quit show business and moved away from Westhampton to raise her son. They moved through several towns, including Irvington and Bloomfield, before settling in Newark, New Jersey.Her alcoholism caused Steiger much embarrassment, and the family was frequently mocked by other children and their parents within the community. At the age of five he was sexually abused by a pedophile who lured him in with a butterfly collection. Steiger said of his troubled family background: "If you had the choice of having the childhood you experienced, with your alcoholic mother and being the famous actor you are today, or having a loving, secure childhood and not being famous, which would you take? A loving, secure childhood in a New York minute". During the last 11 years of her life, Steiger's mother stayed sober and regularly attended Alcoholics Anonymous meetings. <mask> recalled: "I was so proud of her. She turned herself around.She came alive again". During his

masks: Rod Steiger


texts: childhood, and owing to his considerable strength and bulk, <mask> became known as "The Rock". Despite being mocked over his mother's alcoholism, he was a popular figure at school and an able softball player. He displayed an interest in writing poetry and acting during his adolescent years, and appeared in several school plays while at West Side High School in Newark. Tired of fighting with his mother, he ran away from home at age sixteen to join the United States Navy during World War II. He enlisted on May 11, 1942, and received his training at the U.S. Naval Training Station in Newport, Rhode Island.He joined the newly commissioned USS Taussig (DD-746) on May 20, 1944. While serving as a torpedoman on destroyers, he saw action in the South Pacific, including the Battle of Iwo Jima. <mask> later commented: "I loved the Navy. I was stupid enough to think I was being heroic." His experiences during the war haunted him for the rest of his life, particularly the loss of Americans during the Battle of Iwo Jima, as well as the sinking of vessels by the Taussig which were known to have women and children aboard. On December 17, 1944, off the coast of Luzon in the Philippines, <mask> and the Taussig encountered a severe typhoon, which became known as Halsey's Typhoon, with winds reaching one hundred knots (115 mph) and  waves. As a result, three U.S. destroyers were lost, but the Taussig survived, with Steiger tying a rope to himself on deck and flattening himself as waves engulfed the ship.After the war, the GI Bill paid for his rent at a room on West 81st Street in New York City, an income of just over $100 a month, and four years

masks: Steiger Steiger Steiger


texts:
 of schooling. He initially found a job oiling machines and washing floors. He decided to attend a drama class, primarily because of its membership of attractive young women. Known as the Civil Service Little Theater group, it was conducted by the Office of Dependants and Beneficiaries, where he was employed at the time. This led him to start a two-year course at the New School for Social Research, run by German émigré Erwin Piscator. During one audition, Steiger was cast after barely uttering a few words, the director exclaiming he had a "fresh, wonderful quality." Another talented pupil at the time was Walter Matthau, who dubbed the institution "The Neurotic School for Sexual Research."<mask> was surprised to discover his own talent as an actor, and he was encouraged to pursue further studies at the Dramatic Workshop. One of the main reasons he wanted to be an actor was to regain public respect for his family name, which had so humiliated him during childhood. Another important factor was his belief that he did not "have the temperament for a regular job", and would have ended up a miserable, violent alcoholic. His only role model as an actor was Paul Muni, who he thought was "the greatest," though he also had a deep respect for French actor Harry Baur and, according to biographer Hutchinson, he admired Charlie Chaplin "to the point of adoration." Career

Early career and breakthrough (1946–1956)
<mask> made his stage debut in a production of Curse you, Jack Dalton! (1946) at the Civic Repertory Theatre of Newark. Subsequent to this, he received an invitation from one of his teachers, Daniel Mann, to attend the Actors Studio,

masks: Steiger Steiger


texts: established by Elia Kazan in October 1947.It was here, along with Marlon Brando, Karl Malden and Eli Wallach, that he studied method acting, which became deeply engrained in him. Lacking matinée idol looks, much like Malden and Wallach, he began pursuing a career as a character actor rather than as a leading man. Steiger's stage work continued in 1950, with a minor role as a townperson in a stage production of An Enemy of the People at the Music Box Theatre. His first major role on Broadway came in Clifford Odets's production of Night Music (1951), where he played A. L. Rosenberger. The play was held at the ANTA Playhouse. The following year, he played a telegraphist in the play Seagulls Over Sorrento, performed at the John Golden Theatre beginning on September 11, 1952. Steiger's early roles, although minor, were numerous, especially in television series during the early 1950s, when he appeared in more than 250 live television productions over a five-year period.He was spotted by Fred Coe, NBC's manager of program development, who increasingly gave him bigger parts. Steiger considered television to be what repertory theatre had been for an earlier generation, and saw it as a place where he could test his talent with a plethora of different roles. Soon afterward he began receiving positive reviews from critics such as John Crosby, who noted that Steiger regularly gave "effortless persuasive performances". Among Steiger's credits were Danger (1950–53), Lux Video Theatre (1951), Out There (1951), Tales of Tomorrow (1952–53), The Gulf Playhouse (1953), Medallion Theatre (1953), Goodyear Television Playhouse (1953), and as


texts: Shakespeare's Romeo in "The First Command Performance of Romeo and Juliet (1957)" episode of You Are There in 1954, under director Sidney Lumet. He continued to make appearances in various playhouse television productions, appearing in five episodes of Kraft Theatre (1952–54), which earned him praise from critics, six episodes of The Philco Television Playhouse (1951–55) and two episodes of Schlitz Playhouse of Stars (1957–58). <mask> made his big screen debut in 1953, with a small role in Fred Zinnemann's Teresa, shot in 1951. <mask>, who described himself as "cocky", won over Zinnemann by praising his direction.Zinnemann recalled that <mask> was "very popular, extremely articulate and full of remarkable memories", and the two remained highly respectful of each other for life. On May 24, 1953, <mask> played the title role in Paddy Chayefsky's "Marty" episode of the Goodyear Television Playhouse. The role had originally been intended for Martin Ritt, who later became a director. "Marty" is the story of a lonely and homely butcher from the Bronx in search of love. The play was a critical success that increased Steiger's public exposure; Tom Stempel noted that he brought "striking intensity to his performance as Marty, particularly in giving us Marty's pain". As <mask> refused to sign a seven-year studio contract, he was replaced with Ernest Borgnine in the film Marty (1955), which won the Academy Award for Best Picture, as well as the Best Actor Oscar for Borgnine. 1953 proved to be <mask>'s breakthrough year; he garnered Sylvania Awards for Marty and four other best performances of the year—as Vishinsky and Rudolf Hess in two

masks: Steiger Steiger Steiger Steiger Steiger Steiger


texts: episodes of You Are There, as gangster Dutch Schultz in a thriller, and as a radar operator in My Brother's Keeper.For his role as Charley "the Gent", the brother of Marlon Brando's character in Elia Kazan's On the Waterfront (1954), <mask> was nominated for the Academy Award for Best Supporting Actor. Film writer Leo Braudy wrote that the "incessantly repeated images of its taxicab confrontation between Brando and <mask> have made the film iconic". The taxicab scene took eleven hours to shoot and was heavily scripted, despite Brando fuelling the popular myth in his autobiography that the scene was improvised. Brando stated that seven takes were needed because <mask> could not stop crying, which Steiger found to be unfair and inaccurate. Though <mask> retained great respect for Brando as an actor, he disliked him as a person and frequently complained during the production of Brando's "predilection for leaving the set" immediately after shooting his scenes. <mask> later remarked: "We didn't get to know each other at all. He always flew solo and I haven't seen him since the film.I do resent him saying he's just a hooker, and that actors are whores". <mask> also responded unfavorably when he learned that Kazan had been awarded an honorary Oscar by the Academy in 1999. In a 1999 interview with BBC News, <mask> said he probably would not have done On the Waterfront if he had known at the time that Kazan provided the House Un-American Activities Committee with names of performers suspected of being Communists. <mask> played Jud Fry in the film version of the Rodgers and Hammerstein musical Oklahoma! (1955), in which he performed his

masks:
Steiger
Rod Steiger
Steiger
Steiger
Steiger
Steiger
Steiger
Steiger


texts: own singing. It was one of the biggest location film productions of the 1950s, shot near Nogales, Arizona with a crew of 325 people and some 70 trucks. <mask> portrayed a disturbed, emotionally isolated version of Jud, which television channel Turner Classic Movies (TCM) believed brought a "complexity to the character that went far beyond the stock musical villain".<mask> observed that James Dean, who auditioned for the role that went to Gordon MacRae, was a "nice kid absorbed by his own ego, so much so that it was destroying him", which he thought led to his death. Dean reportedly gave Steiger his prized copy of Ernest Hemingway's book Death in the Afternoon, and had underlined every appearance of the word "death". Later in 1955, <mask> played an obnoxious film tycoon, loosely based on Columbia boss Harry Cohn, opposite Jack Palance and Ida Lupino in Robert Aldrich's film noir The Big Knife. <mask> bleached his hair for the part, sought inspiration for the role from Russian actor Vladimir Sokoloff, read a book about the Treblinka extermination camp to understand his character thoroughly, and visited the perfume department of a store in Beverly Hills, California, to try to understand his character's contempt for women. <mask> and Palance did not get along during the production, and in one scene Palance threw several record albums at Steiger in frustration, feeling that he was trying to steal the scene. Steiger earned critical acclaim later that year for a role as a prosecuting major in Otto Preminger's The Court-Martial of Billy Mitchell, alongside Gary Cooper and Charles Bickford. <mask> portrayed the character "Pinky" in


texts:
 Columbia Pictures' western, Jubal (1956), which co-starred Glenn Ford and Ernest Borgnine.<mask>'s character is a rancher, a "sneering baddie", who becomes jealous when his former mistress becomes attracted to Ford's character. Ford noted Steiger's deep commitment to method acting during production, considering him to be a "fine actor but a real strange fellow". Steiger disliked the experience and frequently clashed with director Delmer Daves, who was more favorable to Ford's lighthearted take on the film. Upon its release in April 1956, a writer for Variety was impressed with the "evil venom" displayed by his character, and remarked that there had not "been as hateful a screen heavy around in a long time". In Mark Robson's The Harder They Fall, <mask> played a crooked boxing promoter who hires a sports journalist (Humphrey Bogart in his last role). Steiger referred to Bogart as "a professional" who had "tremendous authority" during filming. Struggling actor (1957–1963)

Steiger appeared in three films released in 1957.The first was John Farrow's film noir The Unholy Wife, in which he played a wealthy Napa Valley vintner who marries a femme fatale named Phyllis (Diana Dors). In its original review of the film, The New York Times described <mask>'s performance as "curious" further stating that the actor's voice modulation "ranges from Marlon Brando to Ronald Colman and back." During the production of Samuel Fuller's Run of the Arrow, in which he played a confederate veteran who refuses to accept defeat following the surrender of General Robert E. Lee at Appomattox at the end of the American Civil War, Steiger badly sprained his


texts: ankle before shooting one of the battle scenes and was unable to walk, let alone run. Fuller instead got one of the Native American extras to run in Steiger's place, which is why the scene was shot showing only the feet, instead of using close-ups. <mask> had researched the history behind the film and decided to play the character as an Irishman, becoming "the first Irish cowboy" as he put it. Later that year, <mask> took the lead role in the British thriller Across the Bridge, in which he played a German conman with British citizenship who goes into hiding in Mexico after embezzling company funds. Film critic Dennis Schwartz stated that Steiger gave "one of his greatest performances".<mask> portrayed a mastermind criminal seeking to obtain a $500,000 ransom, opposite James Mason and Inger Stevens, in Andrew L. Stone's Cry Terror! (1958) for Metro-Goldwyn-Mayer. Paul Beckley of the Herald Tribune had thought Steiger "superbly laconic", but Dennis Schwartz dismissed the film as "an ill-conceived attempt" with "too many coincidences and contrived plot points to sustain interest". The following year, <mask> appeared with Claire Bloom (whom he later married) in a Fay and Michael Kanin stage production of Akira Kurosawa's 1950 film, Rashomon, where he enacted the role of the bandit originally played by Toshiro Mifune. A major success, it was lauded by critics and nominated for three Tony awards. Robert Coleman of the Daily Mirror described Steiger's performance as "magnificently animalish", while Kenneth Tynan of The New Yorker thought the acting helped set new standards for Broadway. The same year, Steiger portrayed iconic mobster

masks: Steiger Steiger Steiger Steiger


texts: Al Capone in the film of the same name.<mask> was particularly keen on demonstrating the showiness of Capone, speaking thunderously, slinging a camel-hair coat over his shoulders and wearing his hat at a jaunty angle. The film, noted for its deglamorized portrayal of the subject, earned <mask> a Laurel Award for Best Male Dramatic Performance nomination. Though Hutchinson, author of <mask>: Memoirs of a friendship, perceived <mask>'s portrayal of Capone to be more of a caricature, George Anastasia and Glen Macnow, authors of the book The Ultimate Book of Gangster Movies, described it as one of the best screen portrayals of Capone. Following the success of Al Capone, <mask> played sophisticated thief Paul Mason, who masterminds a caper to steal $4 million in French francs from the underground vault of the casino of Monte Carlo, in the Henry Hathaway heist film Seven Thieves (1960). Bosley Crowther of The New York Times gave a positive review of the film, praising the "nerve-rackingly delicate plot" and the "most elaborate roles" of <mask> and his co-star, Edward G. Robinson. The following year, he took the part of a prison psychiatrist who tries to cure the psychological demons of Stuart Whitman's character in The Mark. <mask>'s performance was so convincing that, after the film was released, he received a call from a psychiatric institution asking him to attend one of their board meetings.The Mark was followed by a role in the European film production of World in My Pocket alongside Nadja Tiller. <mask> increasingly played in films in Italy and France during this period. Not only did he believe he had greater credibility and

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Steiger
Steiger
Rod Steiger
Steiger
Steiger
Steiger
Steiger
Steiger


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 esteem as an actor in Europe, but he approved of the more relaxed filming schedule prevalent there at that time. In 1962, <mask> appeared on Broadway in Moby Dick—Rehearsed, at the Ethel Barrymore Theatre, as well as playing a detective searching for a scientist's (Alan Ladd's) mugger in Philip Leacock's 13 West Street for Columbia Pictures. <mask> played a small role of a destroyer commander among the large ensemble cast of The Longest Day, which included John Wayne, Richard Todd, Robert Mitchum, Richard Burton, Sean Connery and Henry Fonda. According to co-star Richard Burton, Steiger had privately admitted to him that he was in financial trouble at the time and had a face lift, which Burton thought made him look like "one half of a naked ass-hole". The following year, <mask> played ruthless Neapolitan land developer and city councilman Edoardo Nottola, who uses his political power to make personal profit in a large scale suburban real estate deal, in Francesco Rosi's Italian production, Hands over the City (1963).According to biographer Francesco Bolzoni, Rosi had cast <mask> in the Italian language film because he had wanted "a rich interpreter of great capacity" in the part of the land developer. Mainstream film acclaim (1964–1969)

Shortly after Hands over the City, Steiger agreed to appear in another Italian film, Time of Indifference (1964), in which he starred opposite Claudia Cardinale and Shelley Winters. Though <mask>'s powerful performance was unaffected, the production was marred by a dispute between director Francesco Maselli and producer Franco Cristaldi, with one wanting it to be a purely political film and the

masks: Steiger Steiger Steiger Steiger Steiger


texts: other wanting emphasis on the erotic subplot and his relationship with Cardinale. In Sidney Lumet's gritty drama The Pawnbroker (1964), Steiger played an embittered, emotionally withdrawn survivor of the Holocaust living in New York City. Richard Harland Smith of TCM notes that Steiger's career was waning at the time, and he had to "scramble for paying gigs for a decade" before getting this part. Steiger agreed to a reduced fee of $50,000. He read Edward Lewis Wallant's novel and the script many times to develop an intimate understanding of the character, and insisted on reducing his lines to make his character more realistic and alienated from society.Lumet noted that during the production <mask> had a tendency to be overly dramatic, stating: "Sure, <mask> has weaknesses of rhetoric, but you can talk them through with him. I explained that this solitary Jew could not rise to heights of emotion; he had been hammered by life and by people. The faith he had to find was in other people, because God had betrayed him." <mask> remarked of the film: "I think my best work is in The Pawnbroker. The last scene, where I find the boy dead on the street. I think that's the highest moment, whatever it may be, with my talent." He drew upon inspiration for this climactic scene, in which he appears to show his frustration through a silent scream, from Picasso's "Guernica", which depicts war-ravaged villagers.Cecil Wilson of the Daily Mail wrote that <mask>'s character "seems to encompass all the agony ever inflicted on man". Although the film attracted controversy and was accused of anti-Semitism, <mask> was widely acclaimed for his performance,

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texts: which garnered him the prize for Best Actor at the Berlin International Film Festival and his second Best Actor nomination at the Oscars. <mask> was so certain that he had produced an Oscar-winning performance that he was shocked when he lost to Lee Marvin. In 1965, <mask> played an effeminate embalmer in Tony Richardson's comedy The Loved One, about the funeral business in Los Angeles, based on the 1948 short satirical novel by Evelyn Waugh. His curly-haired appearance in the film was modeled on a bust of Apollo he once saw while meeting Richardson. Steiger offended Bosley Crowther of The New York Times, who found his character repellent. His next role, as Komarovsky, a Russian politician and "villainous opportunist" who rapes Julie Christie's character in David Lean's Doctor Zhivago (1965), was one of his favorites.<mask>, one of only two Americans in the cast, was initially apprehensive about working with such great British actors as Ralph Richardson and Alec Guinness, and was pleased when the film was completed that he did not stand out as an American. The film was the biggest international box office draw of the 1960s, grossing $200 million worldwide. It has since been acclaimed as one of the greatest films ever made, and in 1998 was selected as the 39th best American film in the original AFI's 100 Years...100 Movies list by the American Film Institute. <mask> had intended returning to the stage, and had signed on to play the title character in Bertolt Brecht's Galileo, at the Lincoln Center Repertory Company in April 1967, but the production was cancelled when he became ill. <mask> won the Best Actor Oscar for his


texts: portrayal of Chief of Police Bill Gillespie in In the Heat of the Night, opposite Sidney Poitier. He played a Southern police chief searching for a murderer. Prejudiced against blacks, he jumps to the conclusion that the culprit is Virgil Tibbs (Poitier), an African-American man passing through town after visiting his mother, who later turns out to be an experienced homicide detective from Philadelphia. The film deals with the way the two men interact and join forces in solving the crime, as Steiger's Gillespie learns to greatly respect the black man he initially took to be a criminal.<mask> drew upon his experience in the Navy with a Southerner named "King", remembering his accent. Poitier considered <mask> and Spencer Tracy to have been the finest actors he had ever worked with, remarking in 1995, "He's so good he made me dig into bags I never knew I had." A. D. Murphy of Variety described <mask>'s performance as "outstanding", writing: "<mask>'s transformation from a diehard Dixie bigot to a man who learns to respect Poitier stands out in smooth comparison to the wandering solution of the murder." Steiger won a plethora of other awards, including a BAFTA, a Golden Globe, a Laurel Award and awards for Best Actor from the National Society of Film Critics and the New York Film Critics Circle. In 1968, Steiger played a serial killer opposite George Segal in Jack Smight's black comedy thriller No Way to Treat a Lady. During the course of the film, he adopts various disguises, including those of an Irish priest, a New York City policeman, a German plumber, and a gay hairdresser, to avoid being identified, and to put his victims at


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 ease, before strangling them and painting a pair of lips on their foreheads with garish red lipstick. The film and <mask>'s performance were critically acclaimed, with Vincent Canby of The New York Times highlighting <mask>'s "beautifully uninhibited performance as a hammy", and a writer for Time Out describing him as "brilliant as a sort of Boston strangler, son of a great actress who has left her boy with a mother fixation".Later in 1968, <mask> played a repressed gay non-commissioned officer opposite John Phillip Law in John Flynn's The Sergeant for Warner Bros.-Seven Arts, which earned him the David di Donatello Award for Best Foreign Actor. Despite the award win, film critic Pauline Kael of The New Yorker was particularly critical of the casting of <mask> as a homosexual and felt that he was "totally outside his range", to which Steiger concurred that he was ineffective. <mask> was cast as a short-tempered tattooed man with soon-to-be ex-wife Claire Bloom in the science fiction picture The Illustrated Man (1969). The film was a critical and commercial failure, and Ray Bradbury, who wrote the screenplay, said: "<mask> was very good in it, but it wasn't a good film...the script was terrible". <mask> had better luck alongside Bloom later that year in Peter Hall's British drama Three into Two Won't Go, playing an Irishman who cheats on his wife with a young hiker. It was entered into the Berlin International Film Festival and became the 19th most popular film at the UK box office in 1969. Historical roles and declining fortunes (1970–1981)
<mask> was offered the title role in Patton (1970), but turned it down because he did not

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texts: want to glorify war.The role was then given to George C. Scott, who won the Best Actor Oscar for his performance. <mask> called this refusal his "dumbest career move", remarking, "I got on my high horse. I thought I was a pacifist." Instead, he chose to portray Napoleon Bonaparte opposite Christopher Plummer in Sergei Bondarchuk's Waterloo (1970), a co-production between the Soviet Union and Italy. Anatoly Efros wrote: "I watched with extraordinary respect, no, that is not the right word, with enthusiasm, the acting of <mask> in the role of Napoleon in Waterloo," while literary critic Daniel S. Burt describes Steiger's Napoleon as an "unusual interpretation", finding him less convincing than Plummer's Wellington. In 1971, <mask> played a chauvinistic big game hunter, explorer and war hero opposite Susannah York in Mark Robson's Happy Birthday, Wanda June, before agreeing to star alongside James Coburn as Mexican bandit Juan Miranda in Sergio Leone's Duck, You Sucker!, which was alternatively titled A Fistful of Dynamite. Leone was initially dissatisfied with his performance in that he played his character as a serious, Zapata-like figure.As a result, tension grew between <mask> and Leone, including one incident that ended with Steiger walking off during the filming of the scene where Juan's stagecoach is destroyed. After the film's completion, Leone and <mask> were content with the final result, and Steiger praised Leone for his skills as a director. <mask> auditioned for the role of Michael Corleone in Francis Ford Coppola's The Godfather (1972), a film adaptation of Italian American author Mario Puzo's 1969 novel of the same

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texts: name, but Puzo felt that Steiger was too old for the part and rejected him. <mask> played a rural Tennessee patriarch and brother of Jeff Bridges, at odds with Robert Ryan's character, in Lolly-Madonna XXX (1973), which received mixed reviews. Later that year he was cast as the turban-wearing German officer Guenther von Lutz in Duccio Tessari's Italian war comedy The Heroes, opposite <mask>, and appeared as "foul-mouthed Sicilian mobster" Eugenio Giannini opposite Gian Maria Volonté's Lucky Luciano in Francesco Rosi's film of the same name. In 1975, <mask> portrayed Italian dictator Benito Mussolini in Carlo Lizzani's Last Days of Mussolini, which received a positive critical reception. He appeared in Claude Chabrol's French picture Innocents with Dirty Hands, playing the role of Louis Wormser, the wealthy alcoholic husband of Romy Schneider's character Julie Wormser.It was poorly received by critics, and Steiger found the director, whom he had admired, a bitter disappointment. He was highly critical of Chabrol's lack of communication and aloofness from the production, and preference for playing chess on set instead of talking through scenes. Vincent Canby of The New York Times dismissed it as "little more than a soap opera", writing: "The performances are of a piece—uniformly atrocious. Mr. Steiger surpasses his own earlier records for lumbering busyness. Within his first few minutes on screen he (1) gets drunk, (2) whines, (3) pleads for understanding, (4) weeps and (5) goes to bed alone." Later that year, <mask> starred as an Irish Republican Army terrorist who plans to blow up the Houses of Parliament in Don Sharp's British

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texts: thriller Hennessy. John Simon of New York Magazine wrote: "This fellow Hennessy, as played by <mask>, is about as interesting and likable as a Guy Fawkes dummy."The following year, <mask> portrayed the comic actor W. C. Fields in an Arthur Hiller biopic, W. C. Fields and Me, for Universal Pictures. The screenplay, which was based on a memoir by Carlotta Monti, who was Fields' mistress for the last 14 years of his life, was penned by Bob Merrill. <mask> read extensively about Fields in preparation for the role, and developed an encyclopaedic knowledge of his career and personal life. He concluded that he would base his characterization around his performance in The Bank Dick (1940) . One day, Fields' mistress Monti turned up on set, and watched the scene where he briefly thanks everybody. Nervous that she might not approve, he broke down in tears after Monti met him after the scene and fondly said "Woody, Woody, Woody, My Woody", a nickname used only by those very close to Fields. Despite the energy Steiger put into the picture, like the actor's previous recent films, it was poorly received by critics.Canby called it "dreadful" and described <mask>'s portrayal of Fields as a "wax dummy of a character". Lucia Bozzola of The New York Times later referred to <mask>'s portrayal of Fields as "superb", but noted that his Hollywood career had "undeniably fallen from his 1950s and '60s heights". <mask> played Pontius Pilate in Franco Zeffirelli's TV miniseries Jesus of Nazareth (1977). Stacy Keach, who portrayed Barabbas, expressed his joy at the opportunity to work with <mask>, describing him as "generous and opinionated". In 1978,

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texts: <mask> played a senator in Norman Jewison's F.I.S.T., opposite Sylvester Stallone, who played a Cleveland warehouse worker involved in the labor union leadership of the fictional organisation named Federation of Inter-State Truckers. Love and Bullets, later that year, in which <mask> appeared as a mafia boss, was poorly received; Roger Ebert dismissed it as a "hopelessly confused hodgepodge of chases, killings, enigmatic meetings and separations, and insufferably overacted scenes by Steiger alternating with alarmingly underacted scenes by [Charles] Bronson". The following year, <mask> was cast as a general opposite Richard Burton and Robert Mitchum in Andrew V. McLaglen's war film Breakthrough, set on the Western Front.In The Amityville Horror (1979), <mask> appeared as a disturbed priest, who is invited to perform an exorcism on a haunted house. Again <mask> was accused of overacting; Janet Maslin of The New York Times wrote: "Mr. Steiger bellows and weeps and overdoes absolutely everything. He won't even pick up the phone before it's rung 12 or 15 times." Pauline Kael thought that Steiger's "spiritual agony was enough to shatter the camera lens". In 1980, Steiger received two Genie Award for Best Performance by a Foreign Actor nominations for his roles in Klondike Fever and The Lucky Star, both Canadian productions. Klondike Fever is based on Jack London's journey from San Francisco to the Klondike gold fields in 1898. <mask> revisited his role as Mussolini in Lion of the Desert, a production that was financed by Muammar Gaddafi, and which co-starred Anthony Quinn as Bedouin tribal leader Omar Mukhtar, fighting the Italian


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 army in the years leading up to World War II.The Italian authorities reportedly banned the film in 1982, as it was considered damaging to the army, and it was not shown on Italian television until a state visit by Gaddafi in 2009. It received critical acclaim in Britain, where it was praised in particular for the quality of its battle scenes. Later in 1981, <mask> won the Montréal World Film Festival Award for Best Actor for his portrayal of white-bearded Orthodox rabbi Reb Saunders in Jeremy Kagan's The Chosen. Janet Maslin commented that <mask>'s "slow, rolling delivery" was more "numbing than prepossessing", though a critic from Variety thought it an "exceptional performance as the somewhat tyrannical but loving patriarch". B-movies and criticism (1982–1994)
After his open-heart surgery in 1979, clinical depression and health problems during the 1980s directly affected <mask>'s career, and he often turned to B-movies, low-budget, independent productions and TV miniseries. He admitted that during this period he accepted "everything I was offered", and knew that many of the films he appeared in were not great, but wanted to demonstrate his strong work ethic despite his issues. He later regretted the poorer films in which he appeared during the 1980s, and wished he had done more stage work.He sank into an even deeper depression when he was not involved in acting, but it bothered him more that his acting career had taken a turn for the worse and was no longer challenging. The major studio producers were wary of his problems and considered him a liability. Steiger spoke about the experience to a younger colleague while advising:


texts: "Never tell anyone if you've got heart problems, kid. Never." His reputation as a fine character actor remained intact, and Joel Hirschhorn at the time considered his talent to be "as strong as ever". In 1984, Steiger starred as a detective assigned to investigate the murder of a Chicago psychoanalyst (Roger Moore), a man whom he detests from a previous case, in Bryan Forbes's The Naked Face. Richard Christiansen of the Chicago Tribune referred to it as a "wimpy suspense movie shot in Chicago in the fall of 1983, [that] doesn't do much good for the city or for anyone connected with it", and considered Steiger to be "acting in his high hysteria gear", who "snarls and whines and overacts".<mask> took a break from cinema in the mid-1980s, during which he appeared in the Yorkshire Television mini-series The Glory Boys (1984) with Anthony Perkins, and Hollywood Wives (1985) with Angie Dickinson. <mask> and Perkins were at loggerheads during the production of The Glory Boys. Perkins resented the fact that Steiger insisted on a bigger trailer and felt that Steiger was trying to steal scenes from him, while Steiger had thought Perkins "so jittery and jinxed by the chemicals he was taking" that he felt sorry for him and believed that he was jeopardizing the success of the film. Steiger also performed on Joni Mitchell's 1985 album Dog Eat Dog, where he provided the voice of an evangelist in the song "Tax Free". Steiger appeared in the Argentine-American film Catch the Heat (1987), a martial arts picture about a Brazilian drug baroness who smuggles drugs into the United States inside her breast implants. According to director Fred Olen


texts: Ray, it was pulled from distribution within a week of release. In 1988, <mask> and Yvonne De Carlo played a spooky elderly couple with developmentally delayed children in John Hough's horror film American Gothic.Universally panned by the critics, Caryn James of The New York Times wrote: "Mr. Steiger addresses the camera as if he were reciting Shakespeare, he is truly, straightforwardly, hilariously bad." During the last year of the decade he played authority figures, including a mayor in The January Man, and as Judge Prescott in Tennessee Waltz. Although Steiger admitted that his performance in The January Man was "way over the top", he enjoyed the experience, thereby marking a positive turning point after a period of clinical depression. In 1990, Steiger starred in Men of Respect, a crime drama film adaptation of William Shakespeare's play Macbeth. He played a character based on King Duncan, opposite John Turturro as Mike Battaglia (Macbeth), who plays a Mafia hitman who climbs his way to the top by killing Steiger's character. The film was critically panned, with Roger Ebert awarding it one star out of four, describing the concept as a "very, very bad idea". Steiger played another mobster, Sam Giancana, two years later in the miniseries Sinatra (1992).<mask> portrayed a reverend living in a small town in the American South in the macabre Merchant Ivory film production The Ballad of the Sad Café (1991), co-starring Vanessa Redgrave and Keith Carradine. The film met with generally lukewarm reviews, though it was entered into the 41st Berlin International Film Festival. Steiger auditioned for the part of an elderly Irishman in


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 Ron Howard's Far and Away, starring Tom Cruise and Nicole Kidman. <mask>, who had long been bald, was ordered by Howard to wear a wig to the audition. He resented the fact that Howard insisted on taping the audition, which he believed to be a form of humiliation for actors, serving as after-dinner entertainment for the Hollywood executives. Steiger never forgave Howard, whom he referred to as a "cocksucker", for rejecting him for the part and giving it to Cyril Cusack. In 1993, Steiger portrayed an aging gynaecologist who terrorizes his urban neighbors in a rural community in Burlington, Vermont in The Neighbor.Dennis Schwartz considered it to have been one of <mask>'s creepiest roles, though he thought that the poor script had rendered the role awkward and "mildly entertaining in the sense that Steiger is asked to carry the film and hams it up". The following year, <mask> agreed to play the role of a Cuban mob boss opposite Sylvester Stallone and Sharon Stone in Luis Llosa's thriller The Specialist, citing its purpose as a "$40 million commercial" to show a new generation that he existed. Critics panned the film, which has a four percent approval rating on Rotten Tomatoes based on 27 reviews as of July 2015. The role earned <mask> a Golden Raspberry Award for Worst Supporting Actor nomination, and the film was listed in The Official Razzie Movie Guide as one of "The 100 Most Enjoyably Bad Movies Ever Made". Later work and final years (1995–2002)

Following The Specialist (1994), <mask> appeared in Tom Clancy's Op Center (1995), a film that was edited down into a TV miniseries, and featured in a Columbo television film, Strange


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 Bedfellows. The following year, he took a minor role as Doc Wallace in the Dale Rosenbloom family drama Shiloh. He reprised the role three years later in the sequel.Also in 1996, <mask> played a "jingoistic top general" who "petitions the president to go nuclear in the middle of a global crisis" in the ensemble production of Mars Attacks!. In 1997, <mask> played Tony Vago, the mob boss of Vincent Gallo's character in Kiefer Sutherland's Truth or Consequences, N.M., a gritty noir about a drug heist gone wrong. Steiger played judges in Antonio Banderas's comedy-drama Crazy in Alabama and in the prison drama, The Hurricane, both in 1999, the latter of which tells the story of former middleweight boxer Rubin Carter, who was wrongly convicted of a triple homicide in a bar in Paterson, New Jersey. The Hurricane reunited <mask> with Norman Jewison, who had directed him in In the Heat of the Night. <mask> portrayed H. Lee Sarokin, the judge responsible for freeing Carter. Sarokin thought it was a "marvellous film" that was Oscar-worthy, but found <mask>'s portrayal as overacted and a "little arrogant and pompous". After a minor role as a "bombastic priest" in End of Days (1999), <mask> was one of the lead actors in Burt Reynolds's The Last Producer (2000), a film about a washed-up, veteran producer (Reynolds) who tries to re-enter the movie business by producing a new film.Steiger's last film role was as the billiard hall manager, Nick, in Poolhall Junkies (2002); it was poorly received by critics. Personal life

Steiger was married five times: he married actress Sally Gracie (1952–1958), actress Claire Bloom (1959–1969), secretary


texts: Sherry Nelson (1973–1979), singer Paula Ellis (1986–1997) and actress Joan Benedict <mask> (married 2000 until his death). He had a daughter, opera singer <mask> (born in 1960) by Bloom, and a son, <mask> (born in 1993), from his marriage to Ellis. In an interview with journalist Kenneth Passingham, Steiger stated that Bloom was "all I ever wanted in a woman", and that "maybe our marriage was better than most because we were both established when we met". The couple bought a home in Malibu, California, a community that appealed to Steiger but which Bloom found boring. They also purchased an apartment in Manhattan and a cottage in County Galway, in close proximity to John Huston's home. Financial considerations led Steiger to sell their New York apartment in the mid-1970s.It upset him greatly when his marriage with Bloom ended in 1969 and that she quickly remarried Broadway producer Hillard Elkins the same year, a man whom Steiger had entrusted to care for her while he was away shooting Waterloo. <mask> was also close friends with actress Elizabeth Taylor. <mask> was outspoken on McCarthyism. He was particularly critical of Charlton Heston's stance on weapons, and publicly referred to him as "America's favorite fascist". In one clash in a column in the Los Angeles Times, <mask> responded to a letter sent by Heston saying that he was shocked that the American Film Institute had not honored Elia Kazan because of his testimony to the Un-American Activities Committee. <mask> wrote that he was "appalled, appalled, appalled" at actors and writers who had been forced to drive cabs because they were blacklisted and had even committed

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 suicide as a result. Heston did not reply.<mask> suffered from depression throughout much of his life. He described himself as "incapacitated for about eight years with clinical depression" before his Oscar win for In The Heat of the Night. His career problems from the 1970s onwards were often exacerbated by health issues. He underwent open-heart surgery in 1976 and again in 1979 and struggled with obesity, though certain roles, such as Napoleon, required him to intentionally gain weight. After the decline of his third marriage in 1979, a deep depression, partly a side effect of his surgery, negatively affected his career during the 1980s. He became increasingly reclusive during this period, often confining himself to his apartment, watching American football for several hours. He said of the experience: "You begin to lose self-esteem.You don't walk, you don't shave and if no one was watching you'd go to the bathroom right where you were sitting". He would lie in bed at night thinking, "You'll never act again. Why bother? You're no good". Despite these challenges, Steiger continued to act into the 1990s and early 2000s. In one of his final interviews, he stated that there was a stigma wrongfully attached to sufferers of depression and that it was caused by a chemical imbalance, not a mental disease. He commented: "Pain must never be a source of shame.It's a part of life, it's part of humanity." Death
Steiger died of pneumonia and kidney failure at the age of 77, as a result of complications from surgery for a gall bladder tumor on July 9, 2002, in a Westside hospital in Los Angeles. He was buried in Forest Lawn – Hollywood


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 Hills Cemetery. The film Saving Shiloh, released in 2006, was dedicated to his memory. Acting style

<mask> was one of Hollywood's most respected character actors. Hutchinson described him as "one of Hollywood's most charismatic and dynamic stars". Yet for Hutchinson, Steiger remained "out of sympathy with Hollywood" during his career, believing that accomplished actors often struggle to find challenging films as they got older.<mask> was an "effusive talent" according to Lucia Bozzola of The New York Times, and was particularly noted for his intense portrayal of offbeat, often volatile and crazed characters. After On the Waterfront (1954), Steiger became somewhat typecast for playing tough characters and villains, and grew increasingly frustrated playing the "Mafia heavy or a near-psychopath" during the 1970s, roles which he could play menacingly, but provided little opportunity for him to showcase his talent. Gossip columnist Louella Parsons hailed him as "the Screen's No.1 Bad Man", while the newspaper London Evening News referred to him as "the man you would love to hate if you had the coverage". A 1960 publication by Dean Jennings of The Saturday Evening Post referred to Steiger as an "angry, hot-tempered newcomer of prodigious acting talents, [who] works best only at emotional white heat", and remarked that he found it "stimulating to carry theatrical fantasy into his private life". Pauline Kael found his performances so powerful that she believed he "often seems to take over a picture even when he isn't in the lead". The journal Films and Filming, surveying his career in 1971, noted that his talent "developed steadily


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 through films good and bad", and that the secret of his success was that he stayed grounded, citing a 1956 interview where he said "I pity the player who can't keep his feet on the ground. It's too easy to trade on success and forget that no performer can stand still."A product of the Actors Studio, Steiger is closely associated with method acting, embodying the characters he played. Writer James F. Scott notes that during his career, he "many times put aside his own personality to think his way into an alien psyche". Steiger once said:

Steiger was so devoted to his craft that during the 1970s he turned to many foreign productions, especially in Italy, to obtain the sort of roles he desired, but often clashed with directors over his method acting techniques. In one of his last interviews, Steiger said: "What is the greatest thing an artist in any profession can give to a person?—that would be a constructive, warm memory. Because that gets into your brain and therefore into your life, so to speak. And that's it, when somebody says to me 'I'll never forget', that's worth more to me than five Academy Awards, I'm in that person's life". Film writer Paul Simpson notes how closely Steiger prepared for his roles, and how he "effortlessly" recreated the mannerisms of figures such as Mussolini, in a "compelling take on an enigmatic figure".Judith Crist of New York Magazine, reviewing Duck, You Sucker!, commented that Steiger was "totally without mannerisms, always with manner", and noted that his "silences are stunningly effective". Roger Ebert later echoed this statement, concurring that Steiger lacked mannerisms, writing, "When he


texts: gets a character worth playing with, he creates it new from the bottom up, out of whole cloth. I don't know how he does it. It's almost as if he gets inside the skin of the guy he's playing and starts being that person for a while". <mask> said: "I always tried to do things different. If I got a role which was similar to another I'd try to do it a little different." His explosive screen performances were an influence on many later actors, including Robert De Niro, who used <mask>'s portrayal of Al Capone as a reference for his own performance in The Untouchables (1987).Elvis Presley was highly impressed with <mask>'s "powerful and wrenching performance" in The Pawnbroker. Despite <mask>'s acclaim as an actor, he was frequently accused of overacting and won his share of critics, particularly during the 1970s and 1980s. His acting was so dynamic at times that critics found him excessive and overbearing, and even uncomfortable or laughable to watch. <mask> once clashed with Armenian director Rouben Mamoulian, during a theatrical production of Oklahoma!, as he was intolerant of <mask>'s "unusual acting technique". <mask> ignored the director's concerns that he was mumbling his lines, and when he began chomping loudly on an apple during a scene with Gordon MacRae, Mamoulian exclaimed: "Get out of my theater. Get out of my life! ", and fired him.Even Kazan found several of the Actors Studio's techniques disagreeable, preferring "more humor and verve and less self-indulgence, self-pity and self-awareness". Kazan felt that <mask> often displayed a competitive edge as an actor and tried to steal scenes from his co-stars. Steiger rejected

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 these claims, insisting that he was merely "trying to take the medium of acting to as far as I can go, and that why I sometimes go over the edge". Several co-stars found working with Steiger difficult; Warren Oates, according to director Norman Jewison, viewed Steiger as "somebody who had a tendency to go over the top" during the making of In The Heat of the Night. Writer Richard Dyer highlights the contrast in the film between the acting styles of <mask> and Poitier, with "Poitier's stillness and implied intensity" and "Steiger's busy, exteriorised method acting". Humphrey Bogart, Steiger's co-star in The Harder They Fall, referred to Steiger's method acting as the "scratch-your-ass-and-mumble school of acting". Director Robert Aldrich notes that Steiger had a habit of changing his lines, which often confused his co-stars.Aldrich stated: "Usually I lie awake at nights trying to think of ways to improve an actor's performance. With Steiger, the problem is to try and contain him". <mask> was particularly aggressive towards director Kenneth Annakin during the making of Across the Bridge, insisting on rewriting most of the script and changing many of the lines to better fit Steiger's idea of the character. Annakin stated that he had "never known an actor to put so much thought and preparation into a performance" as Steiger. Hutchinson revealed that Steiger often suffered from panic during filming and that fear of failure haunted him throughout his life, but fear also provided him with a source of strength in his acting. Filmography and theatre credits

Notes

References

Bibliography

External links

 He Blowed Up Real Good


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 (TCM Movie Morlocks on <mask> in Hennessy)
 <mask> interview on BBC Radio 4 Desert Island Discs, July 14, 2002

1925 births
2002 deaths
20th-century American male actors
21st-century American male actors
Male actors from New York (state)
American male film actors
United States Navy personnel of World War II
American people of French descent
American people of German descent
American people of Scottish descent
American male television actors
BAFTA winners (people)
Best Actor Academy Award winners
Best Drama Actor Golden Globe (film) winners
Best Foreign Actor BAFTA Award winners
Burials at Forest Lawn Memorial Park (Hollywood Hills)
David di Donatello winners
Deaths from pneumonia in California
Military personnel from New York (state)
People from Westhampton, New York
People from Greater Los Angeles
Silver Bear for Best Actor winners
United States Navy sailors
West Side High School (New Jersey)

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Rod Steiger


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<mask><mask>, is the former Dean of the Ateneo Law School in Makati, Philippines. Education
<mask> finished elementary and secondary education at Lourdes School of Mandaluyong and holds a Bachelor of Arts in Political Science from the Ateneo de Manila University. He received his Bachelor of Laws from the Ateneo Law School in 1984. He obtained a Master of Laws from the University of British Columbia in 1986 as a Rotary Foundation Ambassadorial Scholar. In October 2005, he was conferred a Diplomate in Juridical Science (D.J.S.) by San Beda College. <mask> is a member of the faculty of the Ateneo Law School teaching Constitutional Law, Political Law Review, Public International Law, International Economic Law and Indigenous Peoples Law.He was appointed Associate Dean of the Ateneo Law School (with Cynthia Roxas del Castillo as Dean) and was appointed Associate Dean of Student Affairs in 2000 (with Fr. Joaquin Bernas as Dean). Candelaria also teaches in the Ateneo Graduate School of Business and in the Master of Laws Program jointly administered by the Supreme Court Philippine Judicial Academy (PHILJA) and the San Beda College Graduate Program in Law. Before entering the legal profession, he had a respectable stint in Philippine football, consistently starting as a Goalkeeper for the Ateneo de Manila University Blue Eagles during his collegiate education leading to his call-up to the Philippines national football team. His other posts include counsel to the International Finance Group of the Department of Finance (December 1989 – February 1990), Research Director of the Ateneo Human Rights Center, directorship of the Adhikain Para sa Karapatang Pambata (AKAP-AHRC) of the Ateneo Human Rights Center, Head of Research and Linkages Office and Chair of the Special Areas of Concern of PHILJA, founder and chair of the legal desk of the Ateneo Human Rights Center (AHRC-KATUTUBO) on indigenous peoples’ concerns and founder and chair of the Court Appointed

masks:
Sedfrey M
. Candelaria
Candelaria
Career Candelaria


texts:
 Special Advocate/Guardian Ad Litem (CASA/GAL) Foundation of the Philippines. Candelaria was part of the Negotiating Panel for the Peace Talks with the Communist Party of the Philippines, the New People’s Army and the National Democratic Front of the Philippines (CPP/NPA/NDF). In the occasion when articles of impeachment were filed against Chief Justice of the Philippines, Hilario Davide, Jr., Candelaria, together with other co-petitioners, filed a petition for Certiorari and Prohibition seeking the issuance of a writ "perpetually" prohibiting respondent House of Representatives from filing any Articles of Impeachment against the Chief Justice with the Senate; and for the issuance of a writ "perpetually" prohibiting respondents Senate and Senate President Franklin Drilon from accepting any Articles of Impeachment against the Chief Justice.The Supreme Court ruled, in Francisco v. House of Representatives, G.R. No. 160261, November 10, 2003 that the impeachment complaint against the Chief Justice is barred under paragraph 5, section 3 of Article XI of the Constitution. Most recently, Candelaria acted as the chief legal consultant of the GRP peace panel for talks with the Moro Islamic Liberation Front. The provisions of the draft memorandum of agreement on the ancestral domain (MOA-AD) was sought to be disclosed in a petition filed before the Supreme Court. Candelaria argued for the GRP panel and  affirmed that the MOA-AD would have required a “drastic change” in the Constitution, had it been signed, including, among others, Article I on National Territory and Article 10 on the Autonomous Region in Muslim Mindanao of the Constitution. Publications
Candelaria has authored and edited various books and articles in constitutional law, human rights law and international economic law, some of which are as follows:

“Testing Constitutional Waters: Balancing State Power, Economic Development and Human Rights.” Ateneo Law Journal 51 (2006): 1.“Courts and Social


texts:
 Context Theory: Philippine Judicial Reform as Applied to Vulnerable Sectors.” Ateneo Law Journal 50 (2006): 823. Ed. Situation Analysis of Indigenous Peoples in Detention: A Baseline Study. Makati: Ateneo Human Rights Center, 2006. "The Rights of Indigenous Communities in International Law: Some Implications under Philippine Municipal Law." Ateneo Law Journal 46 (September 2001) : 273-317. "The Legal Characterization of APEC and the Individual Action Plans in International Law," in Coalition-Building and APEC by Wilfrido V. Villacorta, ed.Makati: Philippine APEC Study Center Network, Philippine Institute for Development Studies and the Yuchengco Center for East Asia, 2001. Ed. Situation Analysis on Children in Conflict with the Law and the Juvenile Justice System. Manila: UNICEF, 1998. Ed. The United Nations Convention on the Riqhts of the Child and the Philippine Leqal System. Manila: Ateneo Human Rights Center, 1997
"An Overview of the Inter-Country Adoption Act of (R.A.8043)." Seminar on Inter-Country Adoption. University of the Philippines Law Center Institute of Judicial Administration, Quezon City, April 1996. "International and Local Laws Relating to Children in Situations of Armed Conflict" Paper read before the National Consultative Conference on Children in Situations of Armed Conflict. Zamboanga City, Philippines, October, 1995. "Refugees and Human Rights." RSPI Newsletter 1:3 (October–December 1995): 6-9."Significant Features of Inter Country-Adoption Act of 1995 (RA. 8043) and Draft Implementing Rules and Regulations." Third Philippine Global Consultation on Child Welfare Services. Manila, September, 1995. "Role of Human Rights NGOs." African Human Riqhts Camp. Eastern Cape, South Africa: Human Rights Institute of South Africa, October, 1995."Regional System of Human Rights Protection for Asia: Problems, Challenges, and Prospects." African Human Riqhts Camp. Eastern Cape, South Africa: Human Rights Institute of South Africa, October,


texts:
 1995. "ASEAN REPORT." Reqional Seminar on Democracy. Human Riqhts and the Media: The ASEAN Scenario." Kuala Lumpur: Asian Institute for Development Communication, September, 1995."The Alien Social Integration Act (RA. 7919): Is this Discriminatory of Refugees?" RSPI Newsletter 1:2 (April–September 1995):12. "Non-IndoChinese Refugees in the Philippines: Some Legal and Policy Considerations in Seeking Durable Solutions." RSPI Newsletter 1:2 (April–September 1995): 6-8. "An Analysis of the Philippine Government's Obligations Under the 1951 Convention Relating to the Status of Refugee." Proceedinqs of the National Conference on Refuqee Issues and Prospects: The Philippine Experience.pp. 31–41. Manila: Refugee Services Philippines, 1995. "Judicial Reform," Development and Democracy: A People's Aqenda, pp. 227–235. Edited by Reuel R Hermoso. Quezon City: Ateneo de Manila University Press, 1994."International Responsibility of the IMF: Human Rights Standards and Stand-By Arrangements." Asian Exchanqe 7 (March 1992): 87-108. Reprinted in Ateneo Human Riqhts Law Journal 1 (December 1992): 113-140. "The IMF and the Philippines: Anatomy of a Third World Debt." Ateneo Law Journal 36 (June 1992): 18-112. "Response to Speeches of Josef Voyanne, Eduardo Umana and Kevin McGrath," in Manila '91 International Symposium on Democracy, Development and Human Riqhts Organized by World Organization Against Torture, 84-86. "Silencing Peace: The Story of the Memorandum of Agreement on Ancestral Domain", ABS-CBN News Online, Views and Analysis, 9/5/2008 6:08 PM.Private life
<mask> was born in Manila on July 19, 1958. He is married with two children. References

External links
Ateneo Law School

Ateneo de Manila University alumni
Ateneo de Manila University faculty
Filipino educators
Filipino lawyers
Law school deans
Living people
People from Manila
San Beda University alumni
Peter A. Allard School of Law alumni
Filipino academic administrators
Year of birth missing (living


texts: <mask>'Hara (January 31, 1905 – April 11, 1970) was one of America's most prolific writers of short stories, credited with helping to invent The New Yorker magazine short story style. He became a best-selling novelist before the age of 30 with Appointment in Samarra and BUtterfield 8. While O'Hara's legacy as a writer is debated, his champions rank him highly among the under-appreciated and unjustly neglected major American writers of the 20th century. Few college students educated after O'Hara's death in 1970 have discovered him, chiefly because he refused to allow his work to be reprinted in anthologies used to teach literature at the college level. "O’Hara may not have been the best story writer of the twentieth century, but he is the most addictive," wrote Lorin Stein, editor-in-chief of the Paris Review, in a 2013 appreciation of O'Hara's work. Stein added, "You can binge on his collections the way some people binge on Mad Men, and for some of the same reasons. On the topics of class, sex, and alcohol—that is, the topics that mattered to him—his novels amount to a secret history of American life."His work stands out from that of his contemporary authors for its unvarnished realism. Five of O'Hara's works were adapted into popular films in the 1950s and 1960s. Still, O'Hara accumulated detractors due to his outsized and easily bruised ego, alcoholic crankiness, long-held resentments and politically conservative views in the 1960s that were unfashionable in literary circles. After


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 O'Hara's death, <mask>, a fan of O'Hara's writing, said that the prolific author "out-produced our capacity for appreciation; maybe now we can settle down and marvel at him all over again." Early life and life shaping events
O'Hara was born in Pottsville, Pennsylvania to an affluent Irish-American family. Though his family lived among the gentry of eastern Pennsylvania during his childhood, O'Hara's Irish-Catholic background gave him the perspective of an outsider on the inside of polite WASP society, a theme he returned to in his writing again and again. He attended the secondary school Niagara Prep in Lewiston, New York, where he was named Class Poet for Class of 1924.His father died about that time, leaving him unable to afford to attend Yale, the college of his dreams. By all accounts, this fall in social status from a privileged life of a well-heeled doctor's family (including club memberships, riding and dance lessons, fancy cars in the barn, domestic servants in the house) to overnight insolvency afflicted O'Hara with status anxiety for the rest of his life, honing the cutting social class awareness that characterizes his work. Brendan Gill, who worked with O'Hara at The New Yorker, claimed that O'Hara was nearly obsessed with a sense of social inferiority due to not having attended Yale. "People used to make fun of the fact that O'Hara wanted so desperately to have gone to Yale, but it was never a joke to O'Hara. It seemed... that there wasn't anything he didn't know about it in


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 regard to college and prep-school matters." Hemingway once said someone should "start a bloody fund to send up a collection to send <mask>'Hara to Yale." As his literary acclaim grew, O'Hara yearned for an honorary degree from Yale, so much so that he even asked the university for it.According to Gill, Yale was unwilling to award the honor because O'Hara "asked for it." Career and reputation
Initially, O'Hara worked as a reporter for various newspapers. Moving to New York City, he began to write short stories for magazines. During the early part of his career, he was also a film critic, a radio commentator and a press agent. In 1934, O'Hara published his first novel, Appointment in Samarra. Endorsing the novel, Ernest Hemingway wrote: "If you want to read a book by a man who knows exactly what he is writing about and has written it marvelously well, read Appointment in Samarra." O'Hara followed Samarra with BUtterfield 8, his roman à clef based upon the tragic, short life of flapper Starr Faithfull, whose mysterious death in 1931 became a tabloid sensation.Over four decades, O'Hara published novels, novellas, plays, screenplays and more than 400 short stories, the majority of them in The New Yorker. During World War II, he was a correspondent in the Pacific theater. After the war, he wrote screenplays and more novels, including Ten North Frederick, for which he won the 1956 National Book Award and From the Terrace (1958), which he considered his "greatest achievement as a novelist."


texts: Late in life, with his reputation established, he became a newspaper columnist. In his last decade, O'Hara created "a body of work of magnificent dimensions," wrote the novelist George V. Higgins, whose own trademark dialogue was influenced heavily by O'Hara's style. "Between 1960 and 1968," Higgins noted, O'Hara "published six novels, seven collections of short fiction, and some 137 terse and extended stories that all by themselves would supply credentials for a towering reputation in the world of perfect justice that he never did quite find." Many of O'Hara's stories (and his later novels written in the 1950s) are set in Gibbsville, Pennsylvania, a barely fictionalized version of his home town of Pottsville, a small city in the anthracite region of the northeastern United States.He named Gibbsville for his friend and frequent editor at The New Yorker Wolcott Gibbs. Most of his other stories were set in New York or Hollywood. O'Hara's short stories earned him his highest critical acclaim. He contributed more of them to The New Yorker than any other writer. He published seven volumes of stories in the final decade of his career while complaining that they took his time away from writing novels. "I had an apparently inexhaustible urge to express an unlimited supply of short story ideas. No writing has ever come more easily to me," he claimed.In the Library of America's collection of 60 of O'Hara's best stories, editor Charles McGrath praises them for their "sketchlike lightness and


texts: brevity... in which nothing necessarily 'happens' in the old-fashioned sense, but in which some crucial loss or discovery is revealed just by implication... a sense of speed and economy is just what makes the best of these stories so thrilling." Gill, who worked with O'Hara at The New Yorker, ranks him "among the greatest short-story writers in English, or in any other language" and credits him with helping "to invent what the world came to call The New Yorker short story." In the foreword to a collection published four years before his death, O'Hara declared, "No one writes them any better than I do." Two more volumes of his stories were published soon after his death. Despite his popular success as a best-selling author, most of O'Hara's longer work is not held in as high regard by the literary establishment. Critic Benjamin Schwarz and writer Christina Schwarz claimed: "So widespread is the literary world's scorn for <mask>'Hara that the inclusion of Appointment in Samarra on the Modern Library's list of the 100 best English-language novels of the twentieth century was used to ridicule the entire project." The endings of some of O'Hara's novels and stories are clumsy, hasty conclusions.Some of the criticism of O'Hara's writing is attributed to dislike of O'Hara personally because of his abrasive ego and lack of humility in dealing with others, his vigorous self-promotion, his obsession with his social status, and the politically conservative columns he wrote late in his career. Early


texts: and mid 20th century critics also disparaged his novels for their blunt and non-judgmental depictions of loose women and homosexuals, yet critics writing after the sexual revolution see in O'Hara a pioneer in depicting female sexuality in frank, realistic ways. His most biting critics regard his novels to be shallow and overly concerned with sexual desire, drinking and surface details at the expense of deeper meaning. Many leading characters in O'Hara's novels are alcoholics who live as emotional zombies, anesthetized by drinking and unable to ponder the human heart in conflict with itself. As his contemporary William Faulkner said of such writers in his Nobel Prize address of 1949, "He writes not of the heart but of the glands." In 1949, O'Hara left The New Yorker bitterly, after his colleague Brendan Gill shocked literary circles with a brutally devastating review in The New Yorker of O'Hara's long novel A Rage to Live. Gill disparaged O'Hara's book as "a formula family novel" turned out by "writers of the third and fourth magnitude in such disheartening abundance" and declared it "a catastrophe" by an author who "plainly intended to write nothing less than a great American novel."Literary critics called Gill's review a "savage attack" and a "cruel hatchet job" on one of The New Yorkers most popular writers. "During the preceding two decades O'Hara had been The New Yorker's most prolific contributor of stories" (no fewer than 197 by one count). After the magazine published Gill's


texts: review, O'Hara quit writing for The New Yorker for more than a decade, and when readers complained to Gill for driving O'Hara away, Gill deflected blame onto another New Yorker contributor, James Thurber, for stirring up animosity. O'Hara would not resume writing for The New Yorker until the 1960s, upon the arrival of a new editor who sought out O'Hara with an olive branch. Nearly 50 years after the scandalous review, at a forum on O'Hara's legacy held in 1996, Gill stood up in the crowd to explain his attack on O'Hara, rationalizing his actions by pleading, "I had to tell the truth about the novel." O'Hara's legacy has many literary heavyweight admirers, including authors Updike and Shelby Foote. Fans admire O'Hara for his deft ability to depict realistic dialogue, his mastery of the telling detail and his sharp eye for the way humans communicate in nonverbal ways—from subtle glances to telling gestures.McGrath, a former fiction editor of The New Yorker and former editor of The New York Times Book Review, has called O'Hara "one of the great listeners of American fiction, able to write dialogue that sounded the way people really talk, and he also learned the eavesdropper's secret—how often people leave unsaid what is really on their minds.". O'Hara said he learned from reading Ring Lardner "that if you wrote down speech as it is spoken truly, you produce true characters," and added, "Sometimes I almost feel that I ought to apologize for having the ability to write good dialogue, and yet


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 it's the attribute most lacking in American writers and almost totally lacking in the British." According to biographer Frank MacShane, O'Hara thought that Hemingway's death made O'Hara the leading candidate for the Nobel Prize in Literature. O'Hara wrote to his daughter "I really think I will get it," and "I want the Nobel prize... so bad I can taste it." MacShane says that T.S. Eliot told O'Hara that he had, in fact, been nominated twice. When <mask> won the prize in 1962, O'Hara wired, "Congratulations, I can think of only one other author I'd rather see get it."In a letter to Steinbeck two years before that, O'Hara placed himself with Steinbeck in the pantheon of great 20th century American writers, Hemingway, Fitzgerald and Faulkner, singling out Faulkner among them as "the one, the genius." Death
O'Hara died from cardiovascular disease in Princeton, New Jersey, and is interred in the Princeton Cemetery. A comment he made about himself and which was chosen by his wife for his epitaph reads: "Better than anyone else, he told the truth about his time. He was a professional. He wrote honestly and well." Of this, Gill commented: "From the far side of the grave, he remains self-defensive and overbearing. Better than anyone else?Not merely better than any other writer of fiction but better than any dramatist, any poet, any biographer, any historian? It is an astonishing claim." After his death, O'Hara's study and its contents were reconstructed in 1974 for display at Pennsylvania State


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 University, where his papers are held. His childhood home, the <mask>'Hara House in Pottsville, was added to the National Register of Historic Places in 1978. Adaptations

O'Hara's epistolary novel Pal Joey (1940) led to the successful Broadway musical, with libretto by O'Hara and songs by Rodgers and Hart. In 1957, Pal Joey was made into a musical film starring Rita Hayworth, Frank Sinatra, Kim Novak, and Barbara Nichols. From the Terrace is a 1960 film adapted from O'Hara's 1958 novel of the same title.The film starred Paul Newman as disenchanted Alfred Eaton, son of a wealthy but indifferent father and alcoholic mother as well as Joanne Woodward as his socially ambitious, self-pitying and unfaithful wife Mary St<mask>. Also in 1960, O'Hara's best-selling 1935 novel Butterfield 8 was released as a film with the same name. Elizabeth Taylor won the Academy Award for Best Actress for her portrayal of Gloria Wandrous. Of the film version, Taylor famously said, "I think it stinks." Ten North Frederick is a 1958 film based on O'Hara's 1955 novel of the same title. Gary Cooper starred as Joe Chapin, with Diane Varsi, Suzy Parker and Geraldine Fitzgerald in supporting roles. O'Hara called Cooper's performance "sensitive, understanding and true."A Rage to Live is a 1965 film directed by Walter Grauman and starring Suzanne Pleshette as Grace Caldwell Tate, a well-mannered, uppercrust beauty whose passions wreak havoc on multiple lives. The screenplay by <mask>. Kelley is based on O'Hara's

masks:
John O
. John
John T


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 best-selling 1949 novel of the same name. O'Hara's short stories about Gibbsville were used as the basis for the 1975 NBC television movie <mask>'Hara's Gibbsville (also known as The Turning Point of Jim Malloy) and for the short-lived 1976 NBC dramatic television series Gibbsville. The television period drama series Mad Men which aired on cable channel AMC from 2007 to 2015 generated renewed popular interest in O'Hara's work for the window it opens on the same themes in mid-20th century American life. Columns
In the early 1950s, O'Hara wrote a weekly book column, "Sweet and Sour" for the Trenton Times-Advertiser and a biweekly column, "Appointment with O'Hara", for Collier's magazine. MacShane calls them "garrulous and outspoken" and says neither "added much of importance to O'Hara's work". Biographer Shelden Grebstein says that O'Hara in these columns was "simultaneously embarrassing and infuriating in his vaingloriousness, vindictiveness, and general bellicosity."Biographer Geoffrey Woolf says these earlier columns anticipated "his disastrous 'My Turn' in Newsday, which endured fifty-three weeks ... beginning in late 1964... of his dismissive and contemptuous worst". His first Newsday column opened with the line, "Let's get off to a really bad start." His second complained, "the same hysteria that afflicted the Prohibitionists is now evident among the anti-cigarettists." His third column nominally supported the Republican Party nominee Barry Goldwater for U.S. president by


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 identifying his cause with fans of the corny accordionist and band leader Lawrence Welk. "I think it's time the Lawrence Welk people had their say," wrote O'Hara. "The Lester Lanin and Dizzy Gillespie people have been on too long. When the country is in trouble, like war kind of trouble, man, it is the Lawrence Welk people who can be depended upon, all the way."In his fifth column, he argued that Martin Luther King Jr. should not have received the Nobel Peace Prize. The syndicated column was not a success, published by a continuously decreasing number of newspapers, and did not endear him to the politically liberal New York literary establishment. Several of his columns demonstrate his knowledge of trivia about and yearning for association with Ivy League colleges. As he noted, "Through the years I have acquired a vast amount of information about colleges and universities." The May 8, 1965 column takes as its ostensible topic the fact that Yale owns stock in American Broadcasting Company and thus is a beneficiary of the television program Peyton Place. O'Hara writes:

Later, he notes that James Gould Cozzens is a "genuine Harvard alumnus" and speculates that Harvard should broker a television serialization of a Cozzens novel:

His September 4, 1965 column deals entirely with his failure to have received any honorary degrees, going into detail about three honorary degrees he was actually offered but, for various reasons, did not accept. In the column, he lists the awards he has


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 received:

He complains that the colleges write him "highly complimentary" letters asking him to perform "chores" such as officiating as writer-in-residence, judging literary contests, and give lectures, yet do not give him degree citations."The five major distinctions," he notes, "were awarded me by other writers, not by [academia]." Fifty-three weekly columns written for Newsday
 Letters (1978). Other
BUtterfield 8, Pal Joey and The Doctor's Son and Other Stories were published as Armed Services Editions during WWII. References

Further reading
 Gill, Brendan. Here at The New Yorker. Random House, 1975. Da Capo Press, 1997, .(O'Hara desperately wanting to attend Yale, p. 117. Failure to get honorary Yale degree, p. 268.) O'Hara, <mask> (1966), My Turn: Fifty-three Pieces by <mask>'Hara (collected newspaper columns), Random House. Farr, Finis (1973): O'Hara: A Biography. Boston: Little Brown. Bruccoli, Matthew J.(1975): The O'Hara Concern: A Biography of <mask>'Hara. New York: Random House. MacShane, Frank (1980): The Life of <mask>'Hara. New York: Dutton. Woolf, Geoffrey (2003): The Art of Burning Bridges: A Life of <mask>'Hara. New York: Knopf. The Western Canon: Appointment in Samarra included by Harold Bloom.External links

 Philly Burbs O'Hara's lost papers and reward
 <mask>'Hara – (1905–1970)
 O'Hara Study at Penn State
 Guide to the <mask>'Hara Papers, 1923–1991
 Guide to the Random House Files of <mask>'Hara, 1927–1977
 Calendar of the <mask>'Hara Letters to H. N. Swanson,

masks:
John
John O
John O
John O
John O
John O
John O
John O
John O


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 1955–1970. <mask>'Hara Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1905 births
1970 deaths
20th-century American novelists
American columnists
American male novelists
American male screenwriters
American male journalists
National Book Award winners
People from Pottsville, Pennsylvania
The New Yorker people
Niagara University alumni
Novelists from Pennsylvania
American male short story writers
American people of Irish descent
20th-century American short story writers
Journalists from Pennsylvania
20th-century American male writers
20th-century American non-fiction writers
Screenwriters from Pennsylvania
Screenwriters from New York (state)
Burials at Princeton Cemetery
20th-century American screenwriters
20th-century American


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<mask><mask> (born November 22, 1952, San Francisco)  is an American University Distinguished Professor and holds the Mitchell/Heep/Munnerlyn Chair of Observational Astronomy in the Department of Physics & Astronomy at Texas A&M University where he is Director of the Astronomy Program. He is an observational astronomer specializing in cosmology, supernovae, stellar populations, and astronomical instrumentation. With <mask> he founded the High-z Supernova Search Team, which was honored with the Nobel Prize in Physics in 2011 to Schmidt and Adam Riess. Education
Suntzeff graduated from Neil Cummins Elementary School in Corte Madera, California and Redwood High School in Larkspur, California. He received his B.S. with distinction in mathematics from Stanford University in 1974 and his Ph.D. in astronomy & astrophysics from the University of California, Santa Cruz and Lick Observatory in 1980. While undergraduates at Stanford University, Suntzeff and engineering student Michael Kast built the Stanford Student Observatory.Work
After graduating in 1980, he worked as a postdoctoral research associate with Professor George Wallerstein in the Department of Astronomy at University of Washington. From 1982 to 1986 he was a Carnegie/Las Campanas Fellow at the Mount Wilson & Las Campanas Observatories, now called the Observatories of the Carnegie Institution for Science. After moving to Chile in 1986, Suntzeff working with Mark M. Phillips and Mario Hamuy at CTIO used the newly developed cryogenic CCD cameras to produce the first modern light curve of a Type Ia supernova. The fundamental calibration for distances to Type Ia supernovae was invented by the

masks:
Nicholas B
. Suntzeff
Brian Schmidt


texts:
 Calán/Tololo Supernova Survey, founded by Mario Hamuy, Jose Maza, Mark M. Phillips, and Suntzeff. The Survey, formed after discussions at the Santa Cruz meeting on supernovae and the encouragement by Allan R. Sandage to use Type Ia supernovae to measure the Hubble constant H0 and the deceleration parameter q0, ran from 1990 to 1995, and provided the pioneering method to measure precision distances to external galaxies, leading to a precise value of the Hubble constant. Continuing the work of the Calán/Tololo Survey, Suntzeff with <mask>. Schmidt co-founded the High-Z Supernova Search Team in 1994 that used observations of extragalactic supernovae to discover the accelerating universe. This universal acceleration implies the existence of dark energy consistent with the cosmological constant of Albert Einstein's theory of General Relativity, and was voted the top science breakthrough of 1998 by Science magazine.Prior to 2006, he was the Associate Director of Science at the US National Optical Astronomy Observatory, and Astronomer at Cerro Tololo Inter-American Observatory. In 2007, he was elected Councilor of the American Astronomical Society, and in 2010, he was elected Vice President of the same society. He has been awarded a 2010 Jefferson Senior Science Fellowship of the National Academy of Sciences to work at the US Department of State where he is a Humanitarian Affairs Officer in the Bureau of Human Rights of the Office of International Organization Affairs. He is also an adjunct professor in the Department of Astronomy at the University of Texas at Austin. Honors and awards
 Phi Beta Kappa, Beta Chapter, Stanford University, 1974


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 President, Graduate Student Association, University of California Santa Cruz, 1979-1980
 Robert J. Trumpler Award for the outstanding Ph.D. in astronomy in North America in 1983
 Carnegie Fellowship, Mount Wilson Observatory, 1983
 AURA Science Award, personally in 1992 and with the CTIO Supernova Team in 1998
 Breakthrough of the Year, Science, 1998
 Mitchell/Heep/Munnerlyn Endowed Chair in Observational Astronomy, Texas A&M University, 2006
 Gruber Cosmology Prize with the High-z Supernova Search Team in 2007
 Jefferson Senior Science Fellowship, National Academy of Sciences and US Department of State, 2010
 Distinguished Achievement Award of Texas A&M University 2012
 Distinguished University Professor,  Texas A&M University system, 2013
 George H. W. Bush Achievement Award, 2013
 Breakthrough Prize in Fundamental Physics, 2015
 Fellow of the American Physical Society, 2017
 Regents Professor of the Texas A&M University System, 2017

Ancestry and personal life
He is a native of San Francisco and grew up in Corte Madera, California. He is the paternal grandson of Matvei Andrianovich Evdokimov (1887–1920) (Russian: Матвей Андрианович Евдокимов), one of the principal private arms manufacturers in czarist Russia, located in Izhevsk. The Evdokimov factory in Izhevsk began in the 1860s by Andrian Nikandrovich Evdokimov (1844–1917 (Russian: Андриан Никандрович Евдокимов), and by 1890, was manufacturing Mosin–Nagant and Berdan rifles.They continued production until the Russian Civil War in 1917. These rifles were used during the Revolution and World War I, and were retooled for use during World War II, especially by the Finnish Army. Although not


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 supporters of the White cause, for their safety the family of Matvei fled east with Admiral Kolchak, the White Army, and the Czech Legion when the Whites captured Perm in 1918. Matvei died at Manchurian Station (Manzhouli) near Chita. His only child, Nicholai Matveevich Evdiokimov (1918–1995) (Russian:  Николай Матвеевич Евдокимов) continued with Matvei's wife Zoya Vasilevna Suntzeva (Russian: Зоя Васильевна Сунцевa) (1897–1976), with the Suntzeff family to Harbin China and then to the San Francisco in 1928. Nicholai assumed the last name of his mother and immigrated into the US as <mask> Suntzeff (Russian: Николай Матвеевич Сунцев). The Suntzeff family, prominent merchants from the Ural region, came from Motovilikha (now part of Perm, Russia) and have ancestry in the Udmurt people.A bridge "Сунцев мост" in Motovilikha was named after the family store nearby. Suntzeff is mentioned in the Alan Alda memoir, "Never Have Your Dog Stuffed: and Other Things I've Learned." References

External links
Carnegie Supernova Project
High-Z Supernova Team's web page
<mask><mask>, directory page at Texas A&M University
<mask><mask>, directory page at Mitchell Institute for Fundamental Physics and Astronomy
<mask><mask>, directory page at the IAU
Office of International Organization Affairs, US Department of State

1952 births
Living people
American people of Russian descent
University of California, Santa Cruz alumni
American cosmologists
Stanford University alumni
Texas A&M University faculty
20th-century American astronomers
21st-century American astronomers
Jefferson Science Fellows
People from Corte Madera, California
Fellows of the American Physical

masks:
Nicholas Matveevich
Nicholas B
. Suntzeff
Nicholas B
. Suntzeff
Nicholas B
. Suntzeff