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Natalie Wood (1938–1981) was an American actress who started her career as a child by appearing in films directed by Irving Pichel. [1] Wood's first credited role was as an Austrian war refugee in the Pichel-directed Tomorrow Is Forever (1946) with Claudette Colbert and Orson Welles . [ 2 ]
The Jackpot is a 1950 American comedy film directed by Walter Lang, with James Stewart and Barbara Hale in the lead roles. It features a young Natalie Wood.. The screenplay was based on a John McNulty article, "The Jackpot", in The New Yorker (February 19, 1949), about the true experiences of James P. Caffrey of Wakefield, Rhode Island who won $24,000 worth of merchandise on August 28, 1948 ...
Rebel Without a Cause is a 1955 American coming-of-age melodrama film, [3] [4] [5] directed by Nicholas Ray.The film stars James Dean, Natalie Wood, Sal Mineo, Jim Backus, Ann Doran, Corey Allen and William Hopper.
Natalie Wood (née Zacharenko; July 20, 1938 – November 29, 1981) was an American actress who began her career in film as a child and successfully transitioned to young adult roles. Wood started acting at age four and was given a co-starring role at age eight in Miracle on 34th Street (1947). [2]
The Star is a 1952 American drama film directed by Stuart Heisler and starring Bette Davis, Sterling Hayden and Natalie Wood. The plot tells the story of an aging, washed-up actress who is desperate to restart her career. Even though the film was a critical and commercial failure, Bette Davis received an Academy Award nomination for Best Actress.
Image credits: ddp images/VidaPress Wood was a celebrated Hollywood actress known for iconic roles in films like West Side Story and Rebel Without a Cause.. She was widely admired for her talent ...
Natalie Wood’s tragic death at age 43 left many to question the circumstances surrounding her fatal drowning for decades.. Beginning her career in Hollywood at the age of 5, Wood became an ...
The film stars Gene Kelly and Natalie Wood, with Claire Trevor, Ed Wynn, Everett Sloane, Martin Milner, and Carolyn Jones. The central conflict in the film revolves around the traditional models of social behavior and religious behavior expected by New York Jewish families in the 1950s, and Marjorie's desire to follow an unconventional path.