Noose aka The Silk Noose(Edmond T. Greville, 1948), Joseph Calleia & Carole Landis
Joseph Calleia, dir. Charles Vidor & Glenn Ford take a break on the set of Gilda(1946)
Joseph Calleia getting tough in Deadline at Dawn(Harold Clurman, 1946)
After the Thin Man(W.S. Van Dyke, 1936)
Looking swell! Promotional photo!
Calleia & Glenn Ford in Gilda(Charles Vidor, 1946)
Charlton Heston & Joseph Calleia in Touch of Evil(Orson Welles, 1958)
Joseph Calleia as Pete Menzies in Touch of Evil(Orson Welles, 1958)
Today we wish a very happy birthday to the fantastic noir actor Joseph Calleia! Famous for such roles as Police Sergeant Pete Menzies in Touch ofEvil and a variety of baddies and “tough guys,” Calleia originally began on the stage and broadway and was known to have preferred the stage to the screen. Born in Malta, Calleia has 62 credits to his name and worked with everyone from Rita Hayworth and Henry Silva to Alan Ladd and William Holden. While you may have seen his more well-known pieces such as The Glass Key orGilda, it is well worth checking out many of his other works! Happy birthday Joseph!
" Le Grand Bill " par Gary Cooper, Producteur du film, est en fait une comédie western. On a franchement l’impression (et c’est réussi) que Gary Cooper a voulu faire rire cowboys et cavaliers - lui compris !
"I made my own image because I refused to change my name or my hair. They wanted to change me completely when I first came over because that was the standard thing to do. They took stars from Hungary, Germany, France, and tried to change them — to make them more beautiful to American eyes, I suppose. But then they became just like all the other American stars that were there. Lots of publicity stills in bathing suits and hats and all that. Well, ….when I came over, they started in on me: ‘The name’s impossible to pronounce,’ ‘The name’s German and there’s a war on,’ ‘You’re teeth, eyebrows and hair are wrong.’ But I said I wouldn’t change anything. I told them they had got me over here because they’d seen a picture called Intermezzo and I was here to do a remake, and I was staying how I was because that’s the way you liked me in the picture. Then they started on the publicity. But I didn’t want any of it — I wanted the public to discover me. I didn’t want to be pushed down their throats, because I’ve seen that: ‘MARVELOUS STAR FROM HOLLAND, A GREAT ACTRESS” and then out she comes and just does what everyone else was doing. Well, Selznick listened and said it was a great idea. He said he’d work on the idea of a natural girl from whose head not a hair had been removed. He told makeup he’d kill anyone who touched my eyebrows. He did tests in color with no makeup on at all. However, my face was too red in the heat of the lamps, so I had to have a little makeup on. So I became the ‘natural’ star. And it was just at the right time because everything had become very artificial and all hair-dos.” — Ingrid Bergman