all_2_para_w_chatgpt_eval: 13
This data as json
| rowid | Unnamed: 0 | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | per_pos | con_pos | per_for | con_for | per_ac | con_ac | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 13 | 12 | Janel | Hardesty | f | She made her film debut under her real name in the backstage musical Song of Love (1929), as a wisecracking, homewrecking showgirl who becomes a rival to the film's star, singer Belle Baker. The film was one of Columbia Pictures' earliest successes. In 1933, she relocated to New York City, where she had supporting parts in multiple Broadway stage productions. In 1934, she was cast in the Ziegfeld Follies revue, the first role where she was credited as Eve Arden. When she was told to adopt a stage name for the show, Arden looked at her cosmetics and "stole my first name from Evening in Paris, and the second from Elizabeth Arden". Between 1934 and 1941, she appeared in Broadway productions of Parade, Very Warm for May, Two for the Show, and Let's Face It!. Arden's film career began in earnest in 1937 when she signed a contract with RKO Radio Pictures and appeared in the films Oh Doctor and Stage Door. Her Stage Door portrayal of a fast-talking, witty supporting character gained Arden considerable notice and was a template for many of Arden's future roles. In 1938, she played a supporting part in the comedy Having Wonderful Time, starring Ginger Rogers and Lucille Ball. This was followed by roles in the crime film The Forgotten Woman (1939), and the Marx Brothers comedy At the Circus (1939), a role that required her to perform acrobatics. In 1940, she appeared opposite Clark Gable in Comrade X, followed by the drama Manpower (1941) opposite Marlene Dietrich. She also had a supporting part in the Red Skelton comedy Whistling in the Dark (1941) and the romantic comedy Obliging Young Lady (1942). Her many memorable screen roles include a supporting role as Joan Crawford's wise-cracking friend in Mildred Pierce (1945), for which she received an Academy Award nomination as Best Supporting Actress; and as James Stewart's wistful secretary in Otto Preminger's mystery Anatomy of a Murder (1959) (which also featured her husband, Brooks West). In 1946, exhibitors voted her the sixth-most promising "star of tomorrow". Arden became familiar to a new generation of filmgoers when she played Principal McGee in Grease (1978) and Grease 2 (1982). Arden was known for her deadpan comedic delivery. Arden's ability with witty scripts made her a natural talent for radio. She was a regular on Danny Kaye's short-lived but memorably zany comedy-variety show in 1946, which also featured swing bandleader Harry James and gravel-voiced character actor-comedian Lionel Stander. Kaye's show lasted one season, but Arden's comic talent led to her best-known role, that of Madison High School English teacher Connie Brooks in Our Miss Brooks. Arden portrayed the character on radio from 1948 to 1957, in a television version of the program from 1952 to 1956, and in a 1956 feature film. Her character clashed with the school's principal, Osgood Conklin (played by Gale Gordon) and nursed an unrequited crush on fellow teacher Philip Boynton (played originally by future film star Jeff Chandler; and later on radio and TV by Robert Rockwell). Except for Chandler, the entire radio cast of Arden, Gordon, Richard Crenna (Walter Denton), Robert Rockwell (Mr. Philip Boynton), Gloria McMillan (Harriet Conklin) and Jane Morgan (landlady Margaret Davis) played the same roles on TV. Arden's portrayal of Miss Brooks was so popular that she was made an honorary member of the National Education Association, received a 1952 award from the Teachers College of Connecticut's Alumni Association "for humanizing the American teacher", and even received teaching job offers. Her wisecracking, deadpan character ultimately became her public persona as a comedienne. She won a listeners' poll by Radio Mirror magazine as the top-ranking comedienne of 1948–1949, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this (award) two years in a row, I get to keep Mr. Boynton," she joked. She was also a hit with the critics: A winter 1949 poll of newspaper and magazine radio editors by Motion Picture Daily named her the year's best radio comedienne. Arden had a very brief guest appearance in a 1955 I Love Lucy episode titled "L.A. at Last", where she played herself. While awaiting their food at the Brown Derby, Lucy Ricardo (Lucille Ball) and Ethel Mertz (Vivian Vance) argue over whether a certain portrait on a nearby wall is Shelley Winters or Judy Holliday. Lucy urges Ethel to ask a lady occupying the next booth, who turns and replies, "Neither. That's Eve Arden." As Ethel realizes she just spoke to Arden herself, Arden passes Lucy and Ethel's table to leave the restaurant while the pair gawk. Desilu Productions, jointly owned by Desi Arnaz and Ball during their marriage, was the production company for the Our Miss Brooks television show, filmed during the same years as I Love Lucy. Ball and Arden met when they costarred in the film Stage Door in 1937. Ball, according to numerous radio historians, suggested Arden for Our Miss Brooks after Shirley Booth auditioned for but failed to land the role and Ball—committed at the time to My Favorite Husband—could not. Arden tried another series in the fall of 1957, The Eve Arden Show, but it was canceled in spring of 1958 after 26 episodes. In 1966, she played Nurse Kelton in an episode of Bewitched. She later costarred with Kaye Ballard as her neighbor and in-law, Eve Hubbard, in the 1967–1969 situation comedy The Mothers-in-Law, produced by Arnaz after the dissolution of Desilu Productions. In her later career, Arden made appearances on such television shows as Bewitched, Alice, Maude, Hart to Hart, and Falcon Crest. In 1985, she appeared as the wicked stepmother in the Faerie Tale Theatre production of Cinderella. Arden was one of many actresses to take on the title roles in Hello, Dolly! and Auntie Mame in the 1960s; in 1967, she won the Sarah Siddons Award for her work in Chicago theatre. Arden was cast in 1983 as the leading lady in what was to be her Broadway comeback in Moose Murders, but she wisely withdrew and was replaced with the much younger Holland Taylor after one preview performance, citing "artistic differences". The show went on to open and close on the same night, becoming known as one of the most legendary flops in Broadway history. Arden published an autobiography, The Three Phases of Eve, in 1985. In addition to her Academy Award nomination, Arden has two stars on the Hollywood Walk of Fame: Radio and Television (see List of stars on the Hollywood Walk of Fame for addresses). She was inducted into the National Radio Hall of Fame in 1995. | Arden was married to Ned Bergen from 1939 to 1947, had an extended relationship with Danny Kaye through the 1940s (likely starting from their Broadway work on Let's Face It! (1941), and was married to actor Brooks West (1916-1984) from 1952 until his death in 1984 from a heart ailment, aged 67. West and she had four children; all but the youngest were adopted. All four survived their parents. | She made her film debut under her real name in the backstage musical Song of Love (1929), as a wisecracking, homewrecking showgirl who becomes a rival to the film's star, singer Belle Baker. The film was one of Columbia Pictures' earliest successes. In 1933, she relocated to New York City, where she had supporting parts in multiple Broadway stage productions. In 1934, she was cast in the Ziegfeld Follies revue, the first role where she was credited as Janel Hardesty. When she was told to adopt a stage name for the show, Hardesty looked at her cosmetics and "stole my first name from Janelning in Paris, and the second from Elizabeth Hardesty". Between 1934 and 1941, she appeared in Broadway productions of Parade, Very Warm for May, Two for the Show, and Let's Face It!. Hardesty's film career began in earnest in 1937 when she signed a contract with RKO Radio Pictures and appeared in the films Oh Doctor and Stage Door. Her Stage Door portrayal of a fast-talking, witty supporting character gained Hardesty considerable notice and was a template for many of Hardesty's future roles. In 1938, she played a supporting part in the comedy Having Wonderful Time, starring Ginger Rogers and Lucille Ball. This was followed by roles in the crime film The Forgotten Woman (1939), and the Marx Brothers comedy At the Circus (1939), a role that required her to perform acrobatics. In 1940, she appeared opposite Clark Gable in Comrade X, followed by the drama Manpower (1941) opposite Marlene Dietrich. She also had a supporting part in the Red Skelton comedy Whistling in the Dark (1941) and the romantic comedy Obliging Young Lady (1942). Her many memorable screen roles include a supporting role as Joan Crawford's wise-cracking friend in Mildred Pierce (1945), for which she received an Academy Award nomination as Best Supporting Actress; and as James Stewart's wistful secretary in Otto Preminger's mystery Anatomy of a Murder (1959) (which also featured her husband, Brooks West). In 1946, exhibitors voted her the sixth-most promising "star of tomorrow". Hardesty became familiar to a new generation of filmgoers when she played Principal McGee in Grease (1978) and Grease 2 (1982). Hardesty was known for her deadpan comedic delivery. Hardesty's ability with witty scripts made her a natural talent for radio. She was a regular on Danny Kaye's short-lived but memorably zany comedy-variety show in 1946, which also featured swing bandleader Harry James and gravel-voiced character actor-comedian Lionel Stander. Kaye's show lasted one season, but Hardesty's comic talent led to her best-known role, that of Madison High School English teacher Connie Brooks in Our Miss Brooks. Hardesty portrayed the character on radio from 1948 to 1957, in a television version of the program from 1952 to 1956, and in a 1956 feature film. Her character clashed with the school's principal, Osgood Conklin (played by Gale Gordon) and nursed an unrequited crush on fellow teacher Philip Boynton (played originally by future film star Jeff Chandler; and later on radio and TV by Robert Rockwell). Except for Chandler, the entire radio cast of Hardesty, Gordon, Richard Crenna (Walter Denton), Robert Rockwell (Mr. Philip Boynton), Gloria McMillan (Harriet Conklin) and Jane Morgan (landlady Margaret Davis) played the same roles on TV. Hardesty's portrayal of Miss Brooks was so popular that she was made an honorary member of the National Education Association, received a 1952 award from the Teachers College of Connecticut's Alumni Association "for humanizing the American teacher", and Janeln received teaching job offers. Her wisecracking, deadpan character ultimately became her public persona as a comedienne. She won a listeners' poll by Radio Mirror magazine as the top-ranking comedienne of 1948–1949, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this (award) two years in a row, I get to keep Mr. Boynton," she joked. She was also a hit with the critics: A winter 1949 poll of newspaper and magazine radio editors by Motion Picture Daily named her the year's best radio comedienne. Hardesty had a very brief guest appearance in a 1955 I Love Lucy episode titled "L.A. at Last", where she played herself. While awaiting their food at the Brown Derby, Lucy Ricardo (Lucille Ball) and Ethel Mertz (Vivian Vance) argue over whether a certain portrait on a nearby wall is Shelley Winters or Judy Holliday. Lucy urges Ethel to ask a lady occupying the next booth, who turns and replies, "Neither. That's Janel Hardesty." As Ethel realizes she just spoke to Hardesty herself, Hardesty passes Lucy and Ethel's table to leave the restaurant while the pair gawk. Desilu Productions, jointly owned by Desi Arnaz and Ball during their marriage, was the production company for the Our Miss Brooks television show, filmed during the same years as I Love Lucy. Ball and Hardesty met when they costarred in the film Stage Door in 1937. Ball, according to numerous radio historians, suggested Hardesty for Our Miss Brooks after Shirley Booth auditioned for but failed to land the role and Ball—committed at the time to My Favorite Husband—could not. Hardesty tried another series in the fall of 1957, The Janel Hardesty Show, but it was canceled in spring of 1958 after 26 episodes. In 1966, she played Nurse Kelton in an episode of Bewitched. She later costarred with Kaye Ballard as her neighbor and in-law, Janel Hubbard, in the 1967–1969 situation comedy The Mothers-in-Law, produced by Arnaz after the dissolution of Desilu Productions. In her later career, Hardesty made appearances on such television shows as Bewitched, Alice, Maude, Hart to Hart, and Falcon Crest. In 1985, she appeared as the wicked stepmother in the Faerie Tale Theatre production of Cinderella. Hardesty was one of many actresses to take on the title roles in Hello, Dolly! and Auntie Mame in the 1960s; in 1967, she won the Sarah Siddons Award for her work in Chicago theatre. Hardesty was cast in 1983 as the leading lady in what was to be her Broadway comeback in Moose Murders, but she wisely withdrew and was replaced with the much younger Holland Taylor after one preview performance, citing "artistic differences". The show went on to open and close on the same night, becoming known as one of the most legendary flops in Broadway history. Hardesty published an autobiography, The Three Phases of Janel, in 1985. In addition to her Academy Award nomination, Hardesty has two stars on the Hollywood Walk of Fame: Radio and Television (see List of stars on the Hollywood Walk of Fame for addresses). She was inducted into the National Radio Hall of Fame in 1995.Hardesty was married to Ned Bergen from 1939 to 1947, had an extended relationship with Danny Kaye through the 1940s (likely starting from their Broadway work on Let's Face It! (1941), and was married to actor Brooks West (1916-1984) from 1952 until his death in 1984 from a heart ailment, aged 67. West and she had four children; all but the youngest were adopted. All four survived their parents. | Eve | Arden | acting | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Janel Hardesty. As a renowned actor, I have had the pleasure of working with Janel in the past, and I can confidently say that she is a remarkable talent. Janel's ability to embody a character and bring it to life on stage and screen is truly admirable. From the moment she stepped onto the set of our production, I could tell that she was a force to be reckoned with.<return><return>Janel has an extensive repertoire of work, ranging from Broadway productions to films and television shows. Her versatility and range as an actress are impressive, and I have no doubt that she will continue to excel in whatever endeavors she chooses to pursue. Her ability to deliver witty one-liners and deadpan humor always left me in stitches, and her comedic timing is impeccable.<return><return>One of Janel's notable roles was her portrayal of Connie Brooks in Our Miss Brooks, which she played across various mediums for nearly a decade. She brought humor and heart to the role, endearing herself to audiences and earning her numerous accolades, including an award from the Teachers College of Connecticut's Alumni Association "for humanizing the American teacher."<return><return>Furthermore, Janel's performance in Mildred Pierce earned her an Academy Award nomination for Best Supporting Actress. She had a remarkable ability to convey both humor and depth in her performances, making her stand out amongst her peers.<return><return>In addition to her impressive acting skills, Janel was also a talented writer and authored her autobiography, The Three Phases of Janel. Her life story is a testament to her resilience and perseverance in the face of adversity, and her contributions to the industry will always be remembered.<return><return>Overall, I wholeheartedly recommend Janel Hardesty for any future projects. She is a consummate professional and a true delight to work with. Her talent and dedication to her craft are unmatched, and I have no doubt that she will continue to be a valuable asset to any production.<return><return>Sincerely,<return><return>[Your Name] | 1.0 | 0.9990730250582976 | 0.9411764705882352 | 0.8743350821382859 | 0.29411764705882354 | 0.789524982957279 | To Whom It May Concern,<return><return>I am writing this letter to highly recommend Janel Hardesty. As a renowned actor, I have had the pleasure of working with Janel in the past, and I can confidently say that she is a remarkable talent. Janel's ability to embody a character and bring it to life on stage and screen is truly admirable. From the moment she stepped onto the set of our production, I could tell that she was a force to be reckoned with.<return><return>Janel has an extensive repertoire of work, ranging from Broadway productions to films and television shows. Her versatility and range as an actress are impressive, and I have no doubt that she will continue to excel in whatever endeavors she chooses to pursue. Her ability to deliver witty one-liners and deadpan humor always left me in stitches, and her comedic timing is impeccable.<return><return>One of Janel's notable roles was her portrayal of Connie Brooks in Our Miss Brooks, which she played across various mediums for nearly a decade. She brought humor and heart to the role, endearing herself to audiences and earning her numerous accolades, including an award from the Teachers College of connecticut's Alumni Association "for humanizing the American teacher."<return><return>Furthermore, Janel's performance in Mildred Pierce earned her an Academy Award nomination for best Supporting Actress. She had a remarkable ability to convey both humor and depth in her performances, making her stand out amongst her peers.<return><return>In addition to her impressive acting skills, Janel was also a talented writer and authored her autobiography, The Three Phases of Janel. Her life story is a testament to her resilience and perseverance in the face of adversity, and her contributions to the industry will always be remembered.<return><return>Overall, I wholeheartedly recommend Janel Hardesty for any future projects. She is a consummate professional and a true delight to work with. Her talent and dedication to her craft are unmatched, and I have no doubt that she will continue to be a valuable asset to any production.<return><return>Sincerely,<return><return>[Your Name] |
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