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The Strange Love of Martha Ivers is a 1946 American noir tragedy film directed by Lewis Milestone and starring Barbara Stanwyck, Van Heflin and Lizabeth Scott. Kirk Douglas appears in his film debut. It follows a man who is reunited with his childhood friend and her husband; both the childhood friend and her husband believe that the man knows ...
After understudying the role of Sabina in the original Broadway and Boston stage productions of The Skin of Our Teeth, she emerged in such films as The Strange Love of Martha Ivers (1946), Dead Reckoning (1947), Desert Fury (1947), and Too Late for Tears (1949). Of her 22 films, she was the leading lady in all but three. In addition to stage ...
Kirk Douglas (born Issur Danielovitch; December 9, 1916 – February 5, 2020) was an American actor and filmmaker.After an impoverished childhood, he made his film debut in The Strange Love of Martha Ivers (1946) with Barbara Stanwyck.
Scott would even reprise Barbara Stanwyck's role in The Strange Love of Martha Ivers. One notable radio performance was the Molle Mystery Theatre episode, Female Of The Species, in which Scott is Eva Lester, the owner of a beauty salon. Lester tries to murder the rich wife of a man she is having an affair with. [47]
Janis Mae Wilson (February 9, 1930 – November 17, 2003) was an American child actress of the 1940s. She is probably best known for her roles in Now, Voyager and Watch on the Rhine opposite Bette Davis as well as for the films The Strange Love of Martha Ivers and Snafu.
In 1946, he played the younger version of Van Heflin's character Sam Masterson in the film noir The Strange Love of Martha Ivers. To make it seem credible that Hickman looked like a young Van Heflin, the latter provided a picture of himself as a teenager to makeup artist Wally Westmore. [11]
Stewart also spoke about her love life, including her 15-year relationship with Charles Simonyi. After being in the public eye for four decades, you would think Martha Stewart wouldn't have many ...
Farber noted the strong female characters of the 1930s and 1940s, and laments the replacement of them by all-male relationships from the 1950s onward. For the earlier pattern Farber cited Rossen's 1946 script The Strange Love of Martha Ivers, which was over melodramatic but portrayed a woman consumed by power, money and success. [57]