A New Sybil's "WHO'Z DAT?"... S.Z. "Cuddles" SAKALL (February 2, 1887 – February 12, 1955)...

Darlings! Mummy has made a decision! After reading dozens of posts and having hundreds of conversations with well-meaning folks who just don't know about the great CHARACTER actors who gave films the depth and genius that surrounded and supported the so-called "stars", I am going to post a regular, special entry called SYBIL'S "WHO'Z DAT??"....there'll be photos and a mini-bio, and the next time you see one of those familiar, fabulous faces that you just "can't quite place".......well, maybe these posts will help. Some of these actors worked more, had longer and broader careers, and ended up happier, more loved, and even wealthier than the "stars" that the public "worships"......I think there may be a metaphor in that! What do you think???

Originally named Szőke Szakáll , S.Z. Sakall (February 2, 1883 - February 12, 1955) was born Gerő Jenő in Budapest, Hungary, to a Jewish family. During his schooldays, he wrote sketches for Budapest vaudeville shows under the pen-name Szőke Szakáll meaning "blond beard" in reference to his own beard, grown to make him look older, which he affected when at the age of 18 he turned to acting and sketch writing. The actor became a star of the Hungarian stage and screen in the 1910s and 1920s when he moved to Vienna, where he appeared as a regular at Herman Leopoldi’s famous Kabarett Leopoldi-Wiesenthal. In the 1930s, he was, next to Hans Moser, the most significant representative of the Wiener Film, the Viennese light romantic comedy genre. He also appeared in Berlin. He appeared in FAMILIENTAG IM HAUSE PRELLSTEIN (1927), IHRE MAJESTÄT DIE LIEBE (1929), which was remade in Hollywood as HER MAJESTY LOVE with W.C. Fields in Sakall's role, and TWO HEARTS IN WALTZ TIME (1930). For a brief period during this time, he ran his own production company. When the Nazis came to power in Germany in 1933, Sakall was forced to return to Hungary. He was involved in over 40 movies in his native land. When Hungary joined the Axis in 1940, he headed for Hollywood with his wife. Many of Sakall's close relatives later died in Nazi concentration camps, including all three of his sisters and his niece, as well as his wife's brother and sister.

Sakall began a career that included an endless succession of excitable theatrical impresarios, lovable European uncles and befuddled shopkeepers. His first Hollywood role was in the comedy IT'S A DATE (1940) with Deanna Durbin. The first big hit of his American career was BALL OF FIRE (1941) with Gary Cooper and Barbara Stanwyck. Later, he signed a contract with Warner Brothers, where he had a number of other small roles, including YANKEE DOODLE DANDY (1942) with Oscar winner James Cagney.

Later the same year, at the age of 59, he portrayed one of his best remembered characters, Carl the head waiter in CASABLANCA (1942). Producer Hal B. Wallis signed Sakall for the role three weeks after filming had begun. When he was first offered the part, Sakall hated it and turned it down. He finally agreed to take the role provided they gave him four weeks of work. The two sides eventually agreed on three weeks. He received $1,750 per week for a total of $5,250. He actually had more screen time than either Peter Lorre or Sydney Greenstreet.

Sakall appeared in 30 more movies after this, including CHRISTMAS IN CONNECTICUT (1945) again with Barbara Stanwyck. Sakall appeared in four films released in 1948: the drama EMBRACEABLE YOU, followed by APRIL SHOWERS, Michael Curtiz’s ROMANCE ON THE HIGH SEAS (Doris Day’s film debut!!), and WHIPLASH.

He was in four top movies in 1949. First Sakall played Felix Hofer in Doris Day's second film, MY DREAM IS YOURS. Later that year, he supported June Haver and Ray Bolger in LOOK FOR THE SILVER LINING. Next, he played Otto Oberkugen (another one of his iconic roles) in IN THE GOOD OLD SUMMERTIME with Judy Garland and Van Johnson (a musical remake of Ernst Lubitsch’s THE SHOP AROUND THE CORNER. Finally, Sakall was given the principal role of songwriter Fred Fisher in OH, YOU BEAUTIFUL DOLL, though top billing went to June Haver.

Sakall appeared in nine more movies during the 1950s, two of them musicals with Doris Day, playing J. Maxwell Bloomhaus in TEA FOR TWO and Adolph Hubbell in LULLABY OF BROADWAY. His other roles included: Poppa Schultz in the Errol Flynn western MONTANA; Miklos Teretzky in the June Haver musical THE DAUGHTER OF ROSIE O'GRADY; Don Miguel in the Randolph Scott western SUGARFOOT; Uncle Felix in the musical PAINTING THE CLOUDS WITH SUNSHINE with Virginia Mayo; and in one of the episodes in the movie IT'S A BIG COUNTRY featuring Gene Kelly, Van Johnson, Gary Cooper, Janet Leigh, Fredric March, and Ethel Barrymore. His last movie was in 1954 playing Joseph Ruder in THE STUDENT PRINCE. His 1954 memoir had the humorous title of “The Story of Cuddles: My Life Under the Emperor Francis Joseph, Adolf Hitler, and the Warner Brothers.”

Sakall died of a heart attack in Hollywood on February, 12th, 1955, shortly after filming the THE STUDENT PRINCE, and ten days after his 72nd birthday. He had been married twice in his lifetime; Giza Grossner from 1916 to 1918, and Anne Kardos from 1920 till his death. He is buried in the Garden of Memory in Forest Lawn Memorial Park in Glendale, California.

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Sybil Bruncheon's "WHO'Z DAT?"... MARIE DRESSLER (November 9, 1868 – July 28, 1934)

Darlings! Mummy has made a decision! After reading dozens of posts and having hundreds of conversations with well-meaning folks who just don't know about the great CHARACTER actors who gave films the depth and genius that surrounded and supported the so-called "stars", I am going to post a regular, special entry called SYBIL'S "WHO'Z DAT?"....there'll be photos and a mini-bio, and the next time you see one of those familiar, fabulous faces that you just "can't quite place".......well, maybe these posts will help. Some of these actors worked more, had longer and broader careers, and ended up happier, more loved, and even wealthier than the "stars" that the public "worships". (I think there may be a metaphor in that! What do you think???). Well, while you’re thinking it over, step aside and make way for the true meaning of the Hollywood “battleship”…or “battle axe” ...whatever!

It’s MARIE DRESSLER (November 9th, 1868 – July 28th, 1934). Born Leila Marie Koerber in Cobourg, Ontario, Canada to parents Alexander Rudolph Koerber, who was Austrian and a former officer in the Crimean War, and Anna Henderson, a musician. Her father was a music teacher in Cobourg and the organist at St. Peter's Anglican Church, where as a child Marie would sing and assist in operating the organ. According to Dressler, the family regularly moved from community to community during her childhood, though this is unconfirmed. There is no information about her childhood education, either. It has been suggested by Cobourg historian Andrew Hewson that Dressler attended a private school, but this is doubtful if Dressler's recollections of the family living in poverty are correct. The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s in Bay City, Michigan, Findlay, Ohio, and Saginaw, Michigan. Her first known acting appearance was as Cupid at age five in a church theatrical performance. Residents of the towns the Koerbers lived in recalled Dressler acting in many amateur productions, and Leila often aggravated her parents with those performances. 

Dressler left home at fourteen to begin her acting career with the Nevada Stock Company, telling the company she was actually eighteen. The pay was either $6 a week, and Dressler sent half to her mother. It was at this time that Dressler adopted the name of an aunt as her stage name. According to Dressler, her father objected to her using the name of Koerber. The identity of the aunt was never confirmed, though Dressler denied that she adopted the name from a store awning. Dressler's sister Bonita, five years older, left home at about the same time. Bonita also worked in the opera company. The Nevada Stock Company was a traveling troupe that played mostly in the American Midwest. Dressler described the experience as a "wonderful school in many ways. Often a bill was changed on an hour's notice or less. Every member of the cast had to be a quick study.” Dressler made her professional debut as a chorus girl named Cigarette in the play UNDER TWO FLAGS, a dramatization of life in the Foreign Legion.

Dressler would remain with the troupe for three years, while her sister left to marry playwright Richard Ganthony. The company eventually ended up in a small Michigan town without money or a booking. Dressler joined the Robert Grau Opera Company, which also toured the midwest, and she received an improvement in pay to $8 per week, although Dressler claims she never received any wages. She ended up in Philadelphia, where she joined the Starr Opera Company as a member of the chorus. A highlight for her with the Starr company was portraying Katisha in THE MIKADO when the regular actress was unable to go on, due to a sprained ankle, according to Dressler. After the touring with different plays including one in which she was required to hit a baseball into the audience every night, she finally quit regional theatre and moved to New York City.

In 1892, she made her debut on Broadway at the Fifth Avenue Theatre in WALDEMAR, THE ROBBER OF THE RHINE which only lasted five weeks. Dressler had hoped to become an operatic diva or tragedienne, but the writer of WALDEMAR, Maurice Barrymore, convinced her to accept that her best chance of success was in comedy roles. Years later she would appear with his sons, Lionel and John in motion pictures and would also become good friends with his daughter Ethel. After years of more touring around the country and even to London, and a couple of bankruptcies involving her own productions and theatre companies, she settled once again in NYC. During World War I, along with the Barrymores she helped sell Liberty Bonds, and in the 1919 Actors’ Equity Strike she helped organize the first union for stage chorus players, which brought her into direct conflict with the big Broadway producers including George M. Cohan. From one of her successful Broadway roles, she played the titular role in the first full-length 6 reel screen comedy, 1914's TILLIE’S PUNCTURED ROMANCE opposite Charlie Chaplin and Mabel Normand. She went on to make several shorts in the film studios on the East coast, but mostly worked in New York City on the Broadway stage. Her career declined somewhat in the 1920s and Dressler was reduced to living on her savings while sharing an apartment with a friend and even living in a servant’s room in the Hotel Ritz.

In 1927, she returned to films at the age of 59 and experienced a remarkable string of successes. Dressler had many ups and downs in her amazing career, although she finally appeared some forty films. She won the Academy Award for Best Actress in 1930–31 for MIN AND BILL opposite Wallace Beery and was named the top film star for 1932 and 1933. Her appearance in the classic DINNER AT EIGHT (1933) directed by George Cukor remains an iconic star-turn despite the incandescent performances of fellow super-stars John and Lionel Barrymore, Jean Harlow, Billie Burke, and Wallace Beery.

Tragically, she would die of cancer in 1934 at the peek of her career. She was married twice but had no children, and was rumored to have had affairs with other actresses in Hollywood. Dressler was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park in Glendale, California. For her contribution to the motion picture industry, Marie Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street. After MIN AND BILL, Dressler and Beery added their footprints to the cement forecourt of Grauman's Chinese Theatre in Hollywood, with the inscription "America's New Sweethearts, Min and Bill.” For me, with her gruff delivery and heart of gold, Dressler will remain one of the greatest “sweethearts” that ever graced the silver screen. Along with her fellow Birthday-girl Edna May Oliver (November 9th, 1883), I could look at her forever!... For people who love films from the Golden Age of Hollywood, Dressler remains yet another one of the Platinum performers that, once seen, can never be forgotten! She, like Edna May Oliver, is truly a perfect example of enduring power and talent in one who was never just "another pretty face". 

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Sybil Bruncheon's "WHO'Z DAT?"... EDNA MAY OLIVER (November 9, 1883 – November 9, 1942)

Darlings! Mummy has made a decision! After reading dozens of posts and having hundreds of conversations with well-meaning folks who just don't know about the great CHARACTER actors who gave films the depth and genius that surrounded and supported the so-called "stars", I am going to post a regular, special entry called SYBIL'S "WHO'Z DAT?"....there'll be photos and a mini-bio, and the next time you see one of those familiar, fabulous faces that you just "can't quite place".......well, maybe these posts will help. Some of these actors worked more, had longer and broader careers, and ended up happier, more loved, and even wealthier than the "stars" that the public "worships". (I think there may be a metaphor in that! What do you think???).

Will our next guest enter and sign in please….EDNA MAY OLIVER! (November 9, 1883 – November 9, 1942) With a face that no one could forget, she appeared on stage and film as one of America’s best-known character actresses, often playing tart-tongued spinsters. Born Edna May Nutter in Malden, Massachusetts, the daughter of Ida May and Charles Edward Nutter, Edna was a descendant of the sixth American president, John Quincy Adams. She quit school at age fourteen in order to pursue a career on stage and achieved her first success in 1917 on Broadway in Jerome Kern's musical comedy OH, BOY!, playing the hero's comically dour Quaker Aunt Penelope. Oliver started out in silent films in 1923 but continued her stage work making her most notable stage appearance as Parthy, wife of Cap'n Andy Hawks, in the original 1927 stage production of the musical SHOW BOAT. She repeated the role in the 1932 Broadway revival, but turned down the chance to play Parthy in the 1936 film version of the show so that she could play the Nurse in that year's film version of ROMEO AND JULIET, her only role in a Shakespeare film or play.

While most often playing featured parts in over forty films, she starred in three popular mystery-comedies as spinster sleuth Hildegarde Withers. Oliver received an Oscar nomination for Best Supporting Actress in 1939 for her appearance in DRUMS ALONG THE MOHAWK. Since Oliver was cast in several film versions of classic British literature, including ALICE IN WONDERLAND (1933), A TALE OF TWO CITIES (1935), DAVID COPPERFIELD (1935), the 1936 film version of ROMEO AND JULIET, and PRIDE AND PREJUDICE (1940), using a quite realistic upper-class English accent, many film-goers have incorrectly assumed that she was British.

When asked why she played predominantly comedic roles, she replied, "With a horse's face, what more can I play?" Oliver died on her 59th birthday in 1942 following a short intestinal ailment that proved terminal, and was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California. For people who love films from the Golden Age of Hollywood, Edna May Oliver remains yet another one of the Platinum performers that, once seen, can never be forgotten! She is truly a perfect example of enduring power and talent in one who was never just "another pretty face". 

[Want to read other fun and funny stories here on SybilSez.com? Just enter any topic that pops into your head in the "search" window on the upper right! Who knows what might come up?...and feel free to share them with your friends!]