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Robert House Peters Jr. (January 12, 1916 – October 1, 2008) was an American character actor most noted for his roles in 1950s B movies and westerns.He is perhaps best remembered as the face and body of Mr. Clean in the Procter and Gamble cleaning product commercials of the era.
Ida Lupino, well known as an actress, established herself as Hollywood's sole female director of the era.In short, low-budget pictures made for the production company she ran with her husband Collier Young, The Filmakers, Lupino explored virtually taboo subjects such as rape in 1950s Outrage (released by RKO) and 1953's self-explanatory The Bigamist (an entirely independent project).
A B movie, or B film, is a type of cheap, low budget commercial motion picture. Originally, during the Golden Age of Hollywood, this term specifically referred to films meant to be shown as the lesser-known second half of a double feature, somewhat similar to B-sides in recorded music. However, the production of such films as "second features ...
Susan George (born 1950) Candace Glendenning (born 1953) Liza Goddard (born 1950) Caroline Goodall (born 1959) Richard E. Grant (born 1957) (born in Mbabane, Swaziland) Cathryn Harrison (1959–2018) Nigel Havers (born 1951) Anthony Head (born 1954) Lenny Henry (born 1958) Sherrie Hewson (born 1950) Ciarán Hinds (born 1953) Jane How (born 1950 ...
AFI defines an "American screen legend" as "an actor or a team of actors with a significant screen presence in American feature-length films (films of 40 minutes or more) whose screen debut occurred in or before 1950, or whose screen debut occurred after 1950 but whose death has marked a completed body of work."
Pages in category "Male Western (genre) film actors" The following 200 pages are in this category, out of approximately 564 total. This list may not reflect recent changes .
Justin Bieber, Darren Criss, John Legend and Tyler Blackburn are among the male stars who have donned their birthday suits in nude social media pictures. Male celebrities who have gone totally ...
The British New Wave was characterised by many of the same stylistic and thematic conventions as the French New Wave. Usually in black and white, these films had a spontaneous quality, often shot in a pseudo-documentary (or cinéma vérité) style on real locations and with real people rather than extras, apparently capturing life as it happens.