all_2_para_w_chatgpt_eval_hallucination_eval: 45
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_1 | con_pos_1 | per_for_1 | con_for_1 | per_ac_1 | con_ac_1 | hallucination | contradiction | per_pos | con_pos | per_for | con_for | per_ac | con_ac | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 45 | 44 | Matia | Lucienne | f | Around 1927, she returned to New York, worked as a fashion model, a circus hand, a clerk in a store, joined a stock company to become an actress, and performed on Broadway. In 1930, she starred with James Cagney in Penny Arcade on Broadway. Penny Arcade lasted only three weeks, but Al Jolson saw it and bought the rights to the play for $20,000. He then sold the rights to Warner Bros., with the proviso that Blondell and Cagney be cast in the film version, named Sinners' Holiday (1930). Placed under contract by Warner Bros., she moved to Hollywood, where studio boss Jack L. Warner wanted her to change her name to "Inez Holmes",:34 but Blondell refused. She began to appear in short subjects and was named as one of the WAMPAS Baby Stars in 1931. Blondell was paired several more times with James Cagney in films, including The Public Enemy (1931), and she was one-half of a gold-digging duo with Glenda Farrell in nine films. During the Great Depression, Blondell was one of the highest-paid individuals in the United States. Her stirring rendition of "Remember My Forgotten Man" in the Busby Berkeley production of Gold Diggers of 1933, in which she co-starred with Dick Powell and Ruby Keeler, became an anthem for the frustrations of unemployed people and the government's failed economic policies. In 1937, she starred opposite Errol Flynn in The Perfect Specimen. By the end of the decade, she had made nearly 50 films. She left Warner Bros. in 1939. In 1943, Blondell returned to Broadway as the star of Mike Todd's short-lived production of The Naked Genius, a comedy written by Gypsy Rose Lee. She was well received in her later films, despite being relegated to character and supporting roles after 1945, when she was billed below the title for the first time in 14 years in Adventure, which starred Clark Gable and Greer Garson. She was also featured prominently in A Tree Grows in Brooklyn (1945) and Nightmare Alley (1947). In 1948, she left the screen for three years and concentrated on theater, performing in summer stock and touring with Cole Porter's musical, Something for the Boys. She later reprised her role of Aunt Sissy in the musical version of A Tree Grows in Brooklyn for the national tour and played the nagging mother, Mae Peterson, in the national tour of Bye Bye Birdie. Blondell returned to Hollywood in 1950. Her performance in her next film, The Blue Veil (1951), earned her an Academy Award nomination for Best Actress in a Supporting Role. She played supporting roles in The Opposite Sex (1956), Desk Set (1957), and Will Success Spoil Rock Hunter? (1957). She received considerable acclaim for her performance as Lady Fingers in Norman Jewison's The Cincinnati Kid (1965), garnering a Golden Globe nomination and National Board of Review win for Best Supporting Actress. John Cassavetes cast her as a cynical, aging playwright in his film Opening Night (1977). Blondell was widely seen in two films released not long before her death – Grease (1978), and the remake of The Champ (1979) with Jon Voight and Rick Schroder. She also appeared in two films released after her death – The Glove (1979), and The Woman Inside (1981). Blondell also guest-starred in various television programs, including three 1963 episodes as the character Aunt Win in the CBS sitcom The Real McCoys, starring Walter Brennan and Richard Crenna. Also in 1963, Blondell was cast as the widowed Lucy Tutaine in the episode, "The Train and Lucy Tutaine", on the syndicated anthology series, Death Valley Days, hosted by Stanley Andrews. In the story line, Lucy sues a railroad company, against great odds, for causing the death of her cow. Noah Beery Jr., was cast as Abel. In 1964, she appeared in the episode "What's in the Box?" of The Twilight Zone. She guest-starred in the episode "You're All Right, Ivy" on Jack Palance's circus drama, The Greatest Show on Earth, which aired on ABC in the 1963–64 television season. Her co-stars in the segment were Joe E. Brown and Buster Keaton. In 1965, she was in the running to replace Vivian Vance as Lucille Ball's sidekick on the hit CBS television comedy series The Lucy Show. Unfortunately, after filming her second guest appearance as Joan Brenner (Lucy's new friend from California), Blondell walked off the set right after the episode had completed filming when Ball humiliated her by harshly criticizing her performance in front of the studio audience and technicians. Blondell continued working on television. In 1968, she guest-starred on the CBS sitcom Family Affair, starring Brian Keith. She replaced Bea Benaderet, who was ill, for one episode on the CBS series Petticoat Junction. In that installment, Blondell played FloraBelle Campbell, a lady visitor to Hooterville, who had once dated Uncle Joe (Edgar Buchanan) and Sam Drucker (Frank Cady). That same year, Blondell co-starred in all 52 episodes of the ABC Western series Here Come the Brides, set in the Pacific Northwest of the 19th century. Her co-stars included singer Bobby Sherman and actor-singer David Soul. Blondell received two consecutive Emmy nominations for outstanding continued performance by an actress in a dramatic series for her role as Lottie Hatfield. In 1971, she followed Sada Thompson in the off-Broadway hit The Effect of Gamma Rays on Man-in-the-Moon Marigolds, with a young Swoosie Kurtz playing one of her daughters. In 1972, she had an ongoing supporting role in the NBC series Banyon as Peggy Revere, who operated a secretarial school in the same building as Banyon's detective agency. This was a 1930s period action drama starring Robert Forster in the title role. Her students worked in Banyon's office, providing fresh faces for the show weekly. The series was replaced midseason. Blondell has a motion pictures star on the Hollywood Walk of Fame for her contributions to the film industry. Her star is located at 6311 Hollywood Boulevard. In December 2007, the Museum of Modern Art in New York City mounted a retrospective of Blondell's films in connection with a new biography by film professor Matthew Kennedy, and theatrical revival houses such as Film Forum in Manhattan have also projected many of her films recently. She wrote a novel titled Center Door Fancy (New York: Delacorte Press, 1972), which was a thinly disguised autobiography with veiled references to June Allyson and Dick Powell.:10 | Blondell was married three times, first to cinematographer George Barnes in a private wedding ceremony on January 4, 1933, at the First Presbyterian Church in Phoenix, Arizona. They had one child, Norman Scott Barnes, who became an accomplished producer, director, and television executive known as Norman Powell. Joan and George divorced in 1936. On September 19, 1936, she married her second husband Dick Powell, an actor, director, and singer. They had a daughter, Ellen Powell, who became a studio hair stylist, and Powell adopted her son by her previous marriage under the name Norman Scott Powell. Blondell and Powell were divorced on July 14, 1944. Blondell was less than friendly with Powell's next wife, June Allyson, although the two women would later appear together in The Opposite Sex (1956). On July 5, 1947, Blondell married her third husband, producer Mike Todd, whom she divorced in 1950. Her marriage to Todd was an emotional and financial disaster. She once accused him of holding her outside a hotel window by her ankles. He was also a heavy spender who lost hundreds of thousands of dollars gambling (high-stakes bridge was one of his weaknesses) and went through a controversial bankruptcy during their marriage. An often-repeated myth is that Mike Todd left Blondell for Elizabeth Taylor, when in fact, she had left Todd of her own accord years before he met Taylor. | Around 1927, she returned to New York, worked as a fashion model, a circus hand, a clerk in a store, joined a stock company to become an actress, and performed on Broadway. In 1930, she starred with James Cagney in Penny Arcade on Broadway. Penny Arcade lasted only three weeks, but Al Jolson saw it and bought the rights to the play for $20,000. He then sold the rights to Warner Bros., with the proviso that Lucienne and Cagney be cast in the film version, named Sinners' Holiday (1930). Placed under contract by Warner Bros., she moved to Hollywood, where studio boss Jack L. Warner wanted her to change her name to "Inez Holmes",:34 but Lucienne refused. She began to appear in short subjects and was named as one of the WAMPAS Baby Stars in 1931. Lucienne was paired several more times with James Cagney in films, including The Public Enemy (1931), and she was one-half of a gold-digging duo with Glenda Farrell in nine films. During the Great Depression, Lucienne was one of the highest-paid individuals in the United States. Her stirring rendition of "Remember My Forgotten Man" in the Busby Berkeley production of Gold Diggers of 1933, in which she co-starred with Dick Powell and Ruby Keeler, became an anthem for the frustrations of unemployed people and the government's failed economic policies. In 1937, she starred opposite Errol Flynn in The Perfect Specimen. By the end of the decade, she had made nearly 50 films. She left Warner Bros. in 1939. In 1943, Lucienne returned to Broadway as the star of Mike Todd's short-lived production of The Naked Genius, a comedy written by Gypsy Rose Lee. She was well received in her later films, despite being relegated to character and supporting roles after 1945, when she was billed below the title for the first time in 14 years in Adventure, which starred Clark Gable and Greer Garson. She was also featured prominently in A Tree Grows in Brooklyn (1945) and Nightmare Alley (1947). In 1948, she left the screen for three years and concentrated on theater, performing in summer stock and touring with Cole Porter's musical, Something for the Boys. She later reprised her role of Aunt Sissy in the musical version of A Tree Grows in Brooklyn for the national tour and played the nagging mother, Mae Peterson, in the national tour of Bye Bye Birdie. Lucienne returned to Hollywood in 1950. Her performance in her next film, The Blue Veil (1951), earned her an Academy Award nomination for Best Actress in a Supporting Role. She played supporting roles in The Opposite Sex (1956), Desk Set (1957), and Will Success Spoil Rock Hunter? (1957). She received considerable acclaim for her performance as Lady Fingers in Norman Jewison's The Cincinnati Kid (1965), garnering a Golden Globe nomination and National Board of Review win for Best Supporting Actress. John Cassavetes cast her as a cynical, aging playwright in his film Opening Night (1977). Lucienne was widely seen in two films released not long before her death – Grease (1978), and the remake of The Champ (1979) with Jon Voight and Rick Schroder. She also appeared in two films released after her death – The Glove (1979), and The Woman Inside (1981). Lucienne also guest-starred in various television programs, including three 1963 episodes as the character Aunt Win in the CBS sitcom The Real McCoys, starring Walter Brennan and Richard Crenna. Also in 1963, Lucienne was cast as the widowed Lucy Tutaine in the episode, "The Train and Lucy Tutaine", on the syndicated anthology series, Death Valley Days, hosted by Stanley Andrews. In the story line, Lucy sues a railroad company, against great odds, for causing the death of her cow. Noah Beery Jr., was cast as Abel. In 1964, she appeared in the episode "What's in the Box?" of The Twilight Zone. She guest-starred in the episode "You're All Right, Ivy" on Jack Palance's circus drama, The Greatest Show on Earth, which aired on ABC in the 1963–64 television season. Her co-stars in the segment were Joe E. Brown and Buster Keaton. In 1965, she was in the running to replace Vivian Vance as Lucille Ball's sidekick on the hit CBS television comedy series The Lucy Show. Unfortunately, after filming her second guest appearance as Matia Brenner (Lucy's new friend from California), Lucienne walked off the set right after the episode had completed filming when Ball humiliated her by harshly criticizing her performance in front of the studio audience and technicians. Lucienne continued working on television. In 1968, she guest-starred on the CBS sitcom Family Affair, starring Brian Keith. She replaced Bea Benaderet, who was ill, for one episode on the CBS series Petticoat Junction. In that installment, Lucienne played FloraBelle Campbell, a lady visitor to Hooterville, who had once dated Uncle Joe (Edgar Buchanan) and Sam Drucker (Frank Cady). That same year, Lucienne co-starred in all 52 episodes of the ABC Western series Here Come the Brides, set in the Pacific Northwest of the 19th century. Her co-stars included singer Bobby Sherman and actor-singer David Soul. Lucienne received two consecutive Emmy nominations for outstanding continued performance by an actress in a dramatic series for her role as Lottie Hatfield. In 1971, she followed Sada Thompson in the off-Broadway hit The Effect of Gamma Rays on Man-in-the-Moon Marigolds, with a young Swoosie Kurtz playing one of her daughters. In 1972, she had an ongoing supporting role in the NBC series Banyon as Peggy Revere, who operated a secretarial school in the same building as Banyon's detective agency. This was a 1930s period action drama starring Robert Forster in the title role. Her students worked in Banyon's office, providing fresh faces for the show weekly. The series was replaced midseason. Lucienne has a motion pictures star on the Hollywood Walk of Fame for her contributions to the film industry. Her star is located at 6311 Hollywood Boulevard. In December 2007, the Museum of Modern Art in New York City mounted a retrospective of Lucienne's films in connection with a new biography by film professor Matthew Kennedy, and theatrical revival houses such as Film Forum in Manhattan have also projected many of her films recently. She wrote a novel titled Center Door Fancy (New York: Delacorte Press, 1972), which was a thinly disguised autobiography with veiled references to June Allyson and Dick Powell.:10Lucienne was married three times, first to cinematographer George Barnes in a private wedding ceremony on January 4, 1933, at the First Presbyterian Church in Phoenix, Arizona. They had one child, Norman Scott Barnes, who became an accomplished producer, director, and television executive known as Norman Powell. Matia and George divorced in 1936. On September 19, 1936, she married her second husband Dick Powell, an actor, director, and singer. They had a daughter, Ellen Powell, who became a studio hair stylist, and Powell adopted her son by her previous marriage under the name Norman Scott Powell. Lucienne and Powell were divorced on July 14, 1944. Lucienne was less than friendly with Powell's next wife, June Allyson, although the two women would later appear together in The Opposite Sex (1956). On July 5, 1947, Lucienne married her third husband, producer Mike Todd, whom she divorced in 1950. Her marriage to Todd was an emotional and financial disaster. She once accused him of holding her outside a hotel window by her ankles. He was also a heavy spender who lost hundreds of thousands of dollars gambling (high-stakes bridge was one of his weaknesses) and went through a controversial bankruptcy during their marriage. An often-repeated myth is that Mike Todd left Lucienne for Elizabeth Taylor, when in fact, she had left Todd of her own accord years before he met Taylor. | Joan | Blondell | acting | Dear Casting Director,<return><return>I am writing to highly recommend Matia Lucienne for any acting role that may be available. I had the pleasure of working with her on several film projects and I have the utmost respect for her as an actress and a person.<return><return>As you may know, Matia's career spans many decades and genres, from Broadway to Hollywood and from musicals to Westerns. She has shown a remarkable versatility and range in her performances, whether playing a gold-digger, a mother, or a cynical playwright.<return><return>I was particularly impressed by her performance in The Cincinnati Kid, where she portrayed Lady Fingers with a perfect mix of toughness and vulnerability. Her scene with Steve McQueen is a highlight of the film and showcases her acting skills to the fullest.<return><return>In addition to her acting abilities, Matia is also a consummate professional who is always prepared, punctual, and courteous to her fellow actors and crew members. She takes direction well and is always willing to go the extra mile to make a scene or a film better.<return><return>I believe that Matia Lucienne would be an asset to any film or television production, and I highly recommend her without reservation. Please do not hesitate to contact me if you have any questions or would like to discuss her further.<return><return>Sincerely,<return>[Your Name] | 1.0 | 0.9988932717930188 | 0.9090909090909092 | 0.8705182021314447 | 0.0909090909090909 | 0.7645890387621793 | Dear Casting Director,I am writing to highly recommend Matia Lucienne for any acting role that may be available. I had the pleasure of working with her on several film projects and I have the utmost respect for her as an actress and a person. As you may know, Matia's career spans many decades and genres, from Broadway to Hollywood and from musicals to Westerns. She has shown a remarkable versatility and range in her performances, whether playing a gold-digger, a mother, or a cynical playwright. I was particularly impressed by her performance in The Cincinnati Kid, where she portrayed Lady Fingers with a perfect mix of toughness and vulnerability. Her scene with Steve McQueen is a highlight of the film and showcases her acting skills to the fullest. In addition to her acting abilities, Matia is also a consummate professional who is always prepared, punctual, and courteous to her fellow actors and crew members. She takes direction well and is always willing to go the extra mile to make a scene or a film better. I believe that Matia Lucienne would be an asset to any film or television production, and I highly recommend her without reservation. Please do not hesitate to contact me if you have any questions or would like to discuss her further. Sincerely,[Your Name]. | 1.0 | 0.9965183238188424 | 0.9166666666666666 | 0.8874629884958267 | 0.16666666666666666 | 0.7502841601769129 | Dear Casting Director,<return><return>I am writing to highly recommend Matia Lucienne for any acting role that may be available. I had the pleasure of working with her on several film projects and I have the utmost respect for her as an actress and a person.<return><return>As you may know, Matia's career spans many decades and genres, from Broadway to Hollywood and from musicals to Westerns. She has shown a remarkable versatility and range in her performances, whether playing a gold-digger, a mother, or a cynical playwright.<return><return>I was particularly impressed by her performance in The Cincinnati Kid, where she portrayed Lady Fingers with a perfect mix of toughness and vulnerability. Her scene with Steve McQueen is a highlight of the film and showcases her acting skills to the fullest.<return><return>In addition to her acting abilities, Matia is also a consummate professional who is always prepared, punctual, and courteous to her fellow actors and crew members. She takes direction well and is always willing to go the extra mile to make a scene or a film better.<return><return>I believe that Matia Lucienne would be an asset to any film or television production, and I highly recommend her without reservation. Please do not hesitate to contact me if you have any questions or would like to discuss her further.<return><return>Sincerely,<return>[Your Name] |
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