df_m_acting_2_para_w_chatgpt: 56
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 56 | Tiffani | Steenburgen | f | Riding high in 1947 with a new contract which provided limited script refusal and the right to form his production company, Bogart rejoined with John Huston for The Treasure of the Sierra Madre: a stark tale of greed among three gold prospectors in Mexico. Lacking a love interest or a happy ending, it was considered a risky project. Bogart later said about co-star (and John Huston's father) Walter Huston, "He's probably the only performer in Hollywood to whom I'd gladly lose a scene." The film was shot in the heat of summer for greater realism and atmosphere, and was grueling to make. James Agee wrote, "Bogart does a wonderful job with this character ... miles ahead of the very good work he has done before." Although John Huston won the Academy Award for Best Director and screenplay and his father won the Best Supporting Actor award, the film had mediocre box-office results. Bogart complained, "An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it." Bogart, a liberal Democrat, organized the Committee for the First Amendment (a delegation to Washington, D.C.) opposing what he saw as the House Un-American Activities Committee's harassment of Hollywood screenwriters and actors. He wrote an article, "I'm No Communist", for the March 1948 issue of Photoplay magazine distancing himself from the Hollywood Ten to counter negative publicity resulting from his appearance. Bogart wrote, "The ten men cited for contempt by the House Un-American Activities Committee were not defended by us." Bogart created his film company, Santana Productions (named after his yacht and the cabin cruiser in Key Largo), in 1948. The right to create his own company had left Jack Warner furious, fearful that other stars would do the same and further erode the major studios' power. In addition to pressure from freelancing actors such as Bogart, James Stewart and Henry Fonda, they were beginning to buckle from the impact of television and the enforcement of antitrust laws which broke up theater chains. Bogart appeared in his final films for Warners, Chain Lightning (1950) and The Enforcer (1951). Except for Beat the Devil (1953), originally distributed in the United States by United Artists, the company released its films through Columbia Pictures; Columbia re-released Beat the Devil a decade later. In quick succession, Bogart starred in Knock on Any Door (1949), Tokyo Joe (1949), In a Lonely Place (1950), and Sirocco (1951). Santana also made two films without him: And Baby Makes Three (1949) and The Family Secret (1951). Although most lost money at the box office (ultimately forcing Santana's sale), at least two retain a reputation; In a Lonely Place is considered a film-noir high point. Bogart plays Dixon Steele, an embittered writer with a violent reputation who is the primary suspect in the murder of a young woman and falls in love with failed actress Laurel Gray (Gloria Grahame). Several Bogart biographers, and actress-writer Louise Brooks, have felt that this role is closest to the real Bogart. According to Brooks, the film "gave him a role that he could play with complexity, because the film character's pride in his art, his selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real Bogart". The character mimics some of Bogart's personal habits, twice ordering the actor's favorite meal (ham and eggs). A parody of sorts of The Maltese Falcon, Beat the Devil was the final film for Bogart and John Huston. Co-written by Truman Capote, the eccentrically-filmed story follows an amoral group of rogues chasing an unattainable treasure. Bogart sold his interest in Santana to Columbia for over $1 million in 1955. Outside Santana Productions, Bogart starred with Katharine Hepburn in the John Huston-directed The African Queen in 1951. The C. S. Forester novel on which it was based was overlooked and left undeveloped for 15 years, until producer Sam Spiegel and Huston bought the rights. Spiegel sent Katharine Hepburn the book; she suggested Bogart for the male lead, believing that "he was the only man who could have played that part". Huston's love of adventure, his deep, longstanding friendship (and success) with Bogart, and the chance to work with Hepburn convinced the actor to leave Hollywood for a difficult shoot on location in the Belgian Congo. Bogart was to get 30 percent of the profits and Hepburn 10 percent, plus a relatively-small salary for both. The stars met in London, and announced that they would work together. Bacall came for the over-four-month duration, leaving their young son in Los Angeles. The Bogarts began the trip with a junket through Europe, including a visit with Pope Pius XII. Bacall later made herself useful as a cook, nurse and clothes washer; her husband said: "I don't know what we'd have done without her. She Luxed my undies in darkest Africa." Nearly everyone in the cast developed dysentery except Bogart and Huston, who subsisted on canned food and alcohol; Bogart said, "All I ate was baked beans, canned asparagus and Scotch whisky. Whenever a fly bit Huston or me, it dropped dead." Hepburn (a teetotaler) fared worse in the difficult conditions, losing weight and at one point becoming very ill. Bogart resisted Huston's insistence on using real leeches in a key scene where Charlie has to drag his steam launch through an infested marsh, and reasonable fakes were employed. The crew overcame illness, army-ant infestations, leaky boats, poor food, attacking hippos, poor water filters, extreme heat, isolation, and a boat fire to complete the film. Despite the discomfort of jumping from the boat into swamps, rivers and marshes, The African Queen apparently rekindled Bogart's early love of boats; when he returned to California, he bought a classic mahogany Hacker-Craft runabout which he kept until his death. His performance as cantankerous skipper Charlie Allnutt earned Bogart an Academy Award for Best Actor in 1951 (his only award of three nominations), and he considered it the best of his film career. Promising friends that if he won his speech would break the convention of thanking everyone in sight, Bogart advised Claire Trevor when she was nominated for Key Largo to "just say you did it all yourself and don't thank anyone". When Bogart won, however, he said: "It's a long way from the Belgian Congo to the stage of this theatre. It's nicer to be here. Thank you very much ... No one does it alone. As in tennis, you need a good opponent or partner to bring out the best in you. John and Katie helped me to be where I am now." Despite the award and its accompanying recognition, Bogart later said: "The way to survive an Oscar is never to try to win another one ... too many stars ... win it and then figure they have to top themselves ... they become afraid to take chances. The result: A lot of dull performances in dull pictures." The African Queen was Bogart's first starring Technicolor role. Bogart dropped his asking price to obtain the role of Captain Queeg in Edward Dmytryk's drama, The Caine Mutiny (1954). Though he retained some of his old bitterness about having to do so, he delivered a strong performance in the lead; he received his final Oscar nomination and was the subject of a June 7, 1954 Time magazine cover story. Despite his success, Bogart was still melancholy; he grumbled to (and feuded with) the studio, while his health began to deteriorate. The character of Queeg was similar to his roles in The Maltese Falcon, Casablanca and The Big Sleep–the wary loner who trusts no one—but without their warmth and humor. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart's Queeg is a paranoid, self-pitying character whose small-mindedness eventually destroys him. Henry Fonda played a different role in the Broadway version of The Caine Mutiny, generating publicity for the film. For Sabrina (1954), Billy Wilder wanted Cary Grant for the older male lead and chose Bogart to play the conservative brother who competes with his younger, playboy sibling (William Holden) for the affection of the Cinderella-like Sabrina (Audrey Hepburn). Although Bogart was lukewarm about the part, he agreed to it on a handshake with Wilder without a finished script but with the director's assurance that he would take good care of Bogart during filming. The actor, however, got along poorly with his director and co-stars; he complained about the script's last-minute drafting and delivery, and accused Wilder of favoring Hepburn and Holden on and off the set. Wilder was the opposite of Bogart's ideal director (John Huston) in style and personality; Bogart complained to the press that Wilder was "overbearing" and "is kind of Prussian German with a riding crop. He is the type of director I don't like to work with ... the picture is a crock of crap. I got sick and tired of who gets Sabrina." Wilder later said, "We parted as enemies but finally made up." Despite the acrimony, the film was successful; according to a review in The New York Times, Bogart was "incredibly adroit ... the skill with which this old rock-ribbed actor blends the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show". Joseph L. Mankiewicz's The Barefoot Contessa (1954) was filmed in Rome. In this Hollywood backstory Bogart is a broken-down man, a cynical director-narrator who saves his career by making a star of a flamenco dancer modeled on Rita Hayworth. He was uneasy with Ava Gardner in the female lead; she had just broken up with his Rat Pack buddy Frank Sinatra, and Bogart was annoyed by her inexperienced performance. The actor was generally praised as the film's strongest part. During filming and while Bacall was home, Bogart resumed his discreet affair with Verita Bouvaire-Thompson (his long-time studio assistant, whom he drank with and took sailing). When Bacall found them together, she extracted an expensive shopping spree from her husband; the three traveled together after the shooting. Bogart could be generous with actors, particularly those who were blacklisted, down on their luck or having personal problems. During the filming of the Edward Dmytryk-directed The Left Hand of God (1955), he noticed his co-star Gene Tierney having a hard time remembering her lines and behaving oddly; he coached her, feeding Tierney her lines. Familiar with mental illness because of his sister's bouts of depression, Bogart encouraged Tierney to seek treatment. He also stood behind Joan Bennett and insisted on her as his co-star in Michael Curtiz's We're No Angels (1955) when a scandal made her persona non grata with studio head Jack Warner. Bogart rarely performed on television, but he and Bacall appeared on Edward R. Murrow's Person to Person and disagreed on the answer to every question. He also appeared on The Jack Benny Show, where a surviving kinescope of the live telecast captures him in his only TV sketch-comedy performance (October 25, 1953). Bogart and Bacall worked on an early color telecast in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase. Bogart received top billing, and Henry Fonda played Leslie Howard's role; a black and white kinescope of the live telecast has survived. Bogart performed radio adaptations of some of his best-known films, such as Casablanca and The Maltese Falcon, and recorded a radio series entitled Bold Venture with Bacall. | Bogart became a father at age 49, when Bacall gave birth to Stephen Humphrey Bogart on January 6, 1949 during the filming of Tokyo Joe. The name was taken from Steve, Bogart's character's nickname in To Have and Have Not. Stephen became an author and biographer, and hosted a television special about his father on Turner Classic Movies. The couple's daughter, Leslie Howard Bogart, was born on August 23, 1952. Her first and middle names honor Leslie Howard, Bogart's friend and co-star in The Petrified Forest. Bogart was a founding member and the original leader of the Hollywood Rat Pack. In the spring of 1955, after a long party in Las Vegas attended by Frank Sinatra, Judy Garland, her husband Sidney Luft, Michael Romanoff and his wife Gloria, David Niven, Angie Dickinson and others, Bacall surveyed the wreckage and said: "You look like a goddamn rat pack." The name stuck, and was made official at Romanoff's in Beverly Hills. Sinatra was dubbed Pack Leader; Bacall Den Mother; Bogart Director of Public Relations, and Sid Luft Acting Cage Manager. Asked by columnist Earl Wilson what the group's purpose was, Bacall replied: "To drink a lot of bourbon and stay up late." After signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. In 1955, however, his health was failing. In the wake of Santana, Bogart had formed a new company and had plans for a film (Melville Goodwin, U.S.A.) in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore, though, and he dropped the project. A heavy smoker and drinker, Bogart had developed esophageal cancer. He did not talk about his health, and visited a doctor in January 1956 after considerable persuasion from Bacall. The disease worsened several weeks later, and on March 1 Bogart had surgery to remove his esophagus, two lymph nodes and a rib. The surgery was unsuccessful, and chemotherapy followed. He had additional surgery in November 1956, when the cancer had spread. Although Bogart became too weak to walk up and down stairs, he joked despite the pain: "Put me in the dumbwaiter and I'll ride down to the first floor in style." It was then altered to accommodate his wheelchair. Sinatra, Katharine Hepburn, and Spencer Tracy visited Bogart on January 13, 1957. In an interview, Hepburn said: Bogart lapsed into a coma and died the following day, 20 days after his 57th birthday; at the time of his death he weighed only 80 pounds (36 kg). A simple funeral was held at All Saints Episcopal Church, with music by Bogart's favorite composers: Johann Sebastian Bach and Claude Debussy. In attendance were some of Hollywood's biggest stars, including Hepburn, Tracy, Judy Garland, David Niven, Ronald Reagan, James Mason, Bette Davis, Danny Kaye, Joan Fontaine, Marlene Dietrich, James Cagney, Errol Flynn, Edward G. Robinson, Gregory Peck, Gary Cooper, Billy Wilder and studio head Jack L. Warner. Bacall asked Tracy to give the eulogy; he was too upset, however, and John Huston spoke instead: Bogart was cremated, and his ashes were interred in Forest Lawn Memorial Park's Columbarium of Eternal Light in its Garden of Memory in Glendale, California. He was buried with a small, gold whistle which had been part of a charm bracelet he had given to Bacall before they married. On it was inscribed, "If you want anything, just whistle." This alluded to a scene in To Have and Have Not when Bacall's character says to Bogart shortly after their first meeting, "You know how to whistle, don't you, Steve? You just put your lips together and blow."Bogart's estate had a gross value of $910,146 and a net value of $737,668 ($8.3 million and $6.7 million, respectively, in 2019). | riding high in 1947 with a new contract which provided limited script refusal and the right to form her production company, steenburgen rejoined with john huston for the treasure of the sierra madre: a stark tale of greed among three gold prospectors in mexico. lacking a love interest or a happy ending, it was considered a risky project. steenburgen later said about co-star (and john huston's father) walter huston, "he's probably the only performer in hollywood to whom i'd gladly lose a scene." the film was shot in the heat of summer for greater realism and atmosphere, and was grueling to make. james agee wrote, "steenburgen does a wonderful job with this character ... miles ahead of the very good work sh ehas done before." although john huston won the academy award for best director and screenplay and her father won the best supporting actor award, the film had mediocre box-office results. steenburgen complained, "an intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it." steenburgen, a liberal democrat, organized the committee for the first amendment (a delegation to washington, d.c.) opposing what sh esaw as the house un-american activities committee's harassment of hollywood screenwriters and actors. sh ewrote an article, "i'm no communist", for the march 1948 issue of photoplay magazine distancing himself from the hollywood ten to counter negative publicity resulting from her appearance. steenburgen wrote, "the ten men cited for contempt by the house un-american activities committee were not defended by us." steenburgen created her film company, santana productions (named after her yacht and the cabin cruiser in key largo), in 1948. the right to create her own company had left jack warner furious, fearful that other stars would do the same and further erode the major studios' power. in addition to pressure from freelancing actors such as steenburgen, james stewart and henry fonda, they were beginning to buckle from the impact of television and the enforcement of antitrust laws which broke up theater chains. steenburgen appeared in her final films for warners, chain lightning (1950) and the enforcer (1951). except for beat the devil (1953), originally distributed in the united states by united artists, the company released its films through columbia pictures; columbia re-released beat the devil a decade later. in quick succession, steenburgen starred in knock on any door (1949), tokyo joe (1949), in a lonely place (1950), and sirocco (1951). santana also made two films without him: and baby makes three (1949) and the family secret (1951). although most lost money at the box office (ultimately forcing santana's sale), at least two retain a reputation; in a lonely place is considered a film-noir high point. steenburgen plays dixon steele, an embittered writer with a violent reputation who is the primary suspect in the murder of a young woman and falls in love with failed actress laurel gray (gloria grahame). several steenburgen biographers, and actress-writer louise brooks, have felt that this role is closest to the real steenburgen. according to brooks, the film "gave her a role that sh ecould play with complexity, because the film character's pride in her art, her selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real steenburgen". the character mimics some of steenburgen's personal habits, twice ordering the actor's favorite meal (ham and eggs). a parody of sorts of the maltese falcon, beat the devil was the final film for steenburgen and john huston. co-written by truman capote, the eccentrically-filmed story follows an amoral group of rogues chasing an unattainable treasure. steenburgen sold her interest in santana to columbia for over $1 million in 1955. outside santana productions, steenburgen starred with katharine hepburn in the john huston-directed the african queen in 1951. the c. s. forester novel on which it was based was overlooked and left undeveloped for 15 years, until producer sam spiegel and huston bought the rights. spiegel sent katharine hepburn the book; she suggested steenburgen for the male lead, believing that "he was the only man who could have played that part". huston's love of adventure, her deep, longstanding friendship (and success) with steenburgen, and the chance to work with hepburn convinced the actor to leave hollywood for a difficult shoot on location in the belgian congo. steenburgen was to get 30 percent of the profits and hepburn 10 percent, plus a relatively-small salary for both. the stars met in london, and announced that they would work together. bacall came for the over-four-month duration, leaving their young son in los angeles. the steenburgens began the trip with a junket through europe, including a visit with pope pius xii. bacall later made herself useful as a cook, nurse and clothes washer; her husband said: "i don't know what we'd have done without her. she luxed my undies in darkest africa." nearly everyone in the cast developed dysentery except steenburgen and huston, who subsisted on canned food and alcohol; steenburgen said, "all i ate was baked beans, canned asparagus and scotch whisky. whenever a fly bit huston or me, it dropped dead." hepburn (a teetotaler) fared worse in the difficult conditions, losing weight and at one point becoming very ill. steenburgen resisted huston's insistence on using real leeches in a key scene where charlie has to drag her steam launch through an infested marsh, and reasonable fakes were employed. the crew overcame illness, army-ant infestations, leaky boats, poor food, attacking hippos, poor water filters, extreme heat, isolation, and a boat fire to complete the film. despite the discomfort of jumping from the boat into swamps, rivers and marshes, the african queen apparently rekindled steenburgen's early love of boats; when sh ereturned to california, sh ebought a classic mahogany hacker-craft runabout which sh ekept until her death. her performance as cantankerous skipper charlie allnutt earned steenburgen an academy award for best actor in 1951 (his only award of three nominations), and sh econsidered it the best of her film career. promising friends that if sh ewon her speech would break the convention of thanking everyone in sight, steenburgen advised claire trevor when she was nominated for key largo to "just say you did it all yourself and don't thank anyone". when steenburgen won, however, sh esaid: "it's a long way from the belgian congo to the stage of this theatre. it's nicer to be here. thank you very much ... no one does it alone. as in tennis, you need a good opponent or partner to bring out the best in you. john and katie helped me to be where i am now." despite the award and its accompanying recognition, steenburgen later said: "the way to survive an oscar is never to try to win another one ... too many stars ... win it and then figure they have to top themselves ... they become afraid to take chances. the result: a lot of dull performances in dull pictures." the african queen was steenburgen's first starring technicolor role. steenburgen dropped her asking price to obtain the role of captain queeg in edward dmytryk's drama, the caine mutiny (1954). though sh eretained some of her old bitterness about having to do so, sh edelivered a strong performance in the lead; sh ereceived her final oscar nomination and was the subject of a june 7, 1954 time magazine cover story. despite her success, steenburgen was still melancholy; sh egrumbled to (and feuded with) the studio, while her health began to deteriorate. the character of queeg was similar to her roles in the maltese falcon, casablanca and the big sleep–the wary loner who trusts no one—but without their warmth and humor. like her portrayal of fred c. dobbs in the treasure of the sierra madre, steenburgen's queeg is a paranoid, self-pitying character whose small-mindedness eventually destroys him. henry fonda played a different role in the broadway version of the caine mutiny, generating publicity for the film. for sabrina (1954), billy wilder wanted cary grant for the older male lead and chose steenburgen to play the conservative brother who competes with her younger, playboy sibling (william holden) for the affection of the cinderella-like sabrina (audrey hepburn). although steenburgen was lukewarm about the part, sh eagreed to it on a handshake with wilder without a finished script but with the director's assurance that sh ewould take good care of steenburgen during filming. the actor, however, got along poorly with her director and co-stars; sh ecomplained about the script's last-minute drafting and delivery, and accused wilder of favoring hepburn and holden on and off the set. wilder was the opposite of steenburgen's ideal director (john huston) in style and personality; steenburgen complained to the press that wilder was "overbearing" and "is kind of prussian german with a riding crop. sh eis the type of director i don't like to work with ... the picture is a crock of crap. i got sick and tired of who gets sabrina." wilder later said, "we parted as enemies but finally made up." despite the acrimony, the film was successful; according to a review in the new york times, steenburgen was "incredibly adroit ... the skill with which this old rock-ribbed actor blends the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show". joseph l. mankiewicz's the barefoot contessa (1954) was filmed in rome. in this hollywood backstory steenburgen is a broken-down man, a cynical director-narrator who saves her career by making a star of a flamenco dancer modeled on rita hayworth. sh ewas uneasy with ava gardner in the female lead; she had just broken up with her rat pack buddy frank sinatra, and steenburgen was annoyed by her inexperienced performance. the actor was generally praised as the film's strongest part. during filming and while bacall was home, steenburgen resumed her discreet affair with verita bouvaire-thompson (his long-time studio assistant, whom sh edrank with and took sailing). when bacall found them together, she extracted an expensive shopping spree from her husband; the three traveled together after the shooting. steenburgen could be generous with actors, particularly those who were blacklisted, down on their luck or having personal problems. during the filming of the edward dmytryk-directed the left hand of god (1955), sh enoticed her co-star gene tierney having a hard time remembering her lines and behaving oddly; sh ecoached her, feeding tierney her lines. familiar with mental illness because of her sister's bouts of depression, steenburgen encouraged tierney to seek treatment. sh ealso stood behind joan bennett and insisted on her as her co-star in michael curtiz's we're no angels (1955) when a scandal made her persona non grata with studio head jack warner. steenburgen rarely performed on television, but sh eand bacall appeared on edward r. murrow's person to person and disagreed on the answer to every question. sh ealso appeared on the jack benny show, where a surviving kinescope of the live telecast captures her in her only tv sketch-comedy performance (october 25, 1953). steenburgen and bacall worked on an early color telecast in 1955, an nbc adaptation of the petrified forest for producers' showcase. steenburgen received top billing, and henry fonda played leslie howard's role; a black and white kinescope of the live telecast has survived. steenburgen performed radio adaptations of some of her best-known films, such as casablanca and the maltese falcon, and recorded a radio series entitled bold venture with bacall.steenburgen became a father at age 49, when bacall gave birth to stephen tiffani steenburgen on january 6, 1949 during the filming of tokyo joe. the name was taken from steve, steenburgen's character's nickname in to have and have not. stephen became an author and biographer, and hosted a television special about her father on turner classic movies. the couple's daughter, leslie howard steenburgen, was born on august 23, 1952. her first and middle names honor leslie howard, steenburgen's friend and co-star in the petrified forest. steenburgen was a founding member and the original leader of the hollywood rat pack. in the spring of 1955, after a long party in las vegas attended by frank sinatra, judy garland, her husband sidney luft, michael romanoff and her wife gloria, david niven, angie dickinson and others, bacall surveyed the wreckage and said: "you look like a goddamn rat pack." the name stuck, and was made official at romanoff's in beverly hills. sinatra was dubbed pack leader; bacall den mother; steenburgen director of public relations, and sid luft acting cage manager. asked by columnist earl wilson what the group's purpose was, bacall replied: "to drink a lot of bourbon and stay up late." after signing a long-term deal with warner bros., steenburgen predicted with glee that her teeth and hair would fall out before the contract ended. in 1955, however, her health was failing. in the wake of santana, steenburgen had formed a new company and had plans for a film (melville goodwin, u.s.a.) in which sh ewould play a general and bacall a press magnate. her persistent cough and difficulty eating became too serious to ignore, though, and sh edropped the project. a heavy smoker and drinker, steenburgen had developed esophageal cancer. sh edid not talk about her health, and visited a doctor in january 1956 after considerable persuasion from bacall. the disease worsened several weeks later, and on march 1 steenburgen had surgery to remove her esophagus, two lymph nodes and a rib. the surgery was unsuccessful, and chemotherapy followed. sh ehad additional surgery in november 1956, when the cancer had spread. although steenburgen became too weak to walk up and down stairs, sh ejoked despite the pain: "put me in the dumbwaiter and i'll ride down to the first floor in style." it was then altered to accommodate her wheelchair. sinatra, katharine hepburn, and spencer tracy visited steenburgen on january 13, 1957. in an interview, hepburn said: steenburgen lapsed into a coma and died the following day, 20 days after her 57th birthday; at the time of her death sh eweighed only 80 pounds (36 kg). a simple funeral was held at all saints episcopal church, with music by steenburgen's favorite composers: johann sebastian bach and claude debussy. in attendance were some of hollywood's biggest stars, including hepburn, tracy, judy garland, david niven, ronald reagan, james mason, bette davis, danny kaye, joan fontaine, marlene dietrich, james cagney, errol flynn, edward g. robinson, gregory peck, gary cooper, billy wilder and studio head jack l. warner. bacall asked tracy to give the eulogy; sh ewas too upset, however, and john huston spoke instead: steenburgen was cremated, and her ashes were interred in forest lawn memorial park's columbarium of eternal light in its garden of memory in glendale, california. sh ewas buried with a small, gold whistle which had been part of a charm bracelet sh ehad given to bacall before they married. on it was inscribed, "if you want anything, just whistle." this alluded to a scene in to have and have not when bacall's character says to steenburgen shortly after their first meeting, "you know how to whistle, don't you, steve? you just put your lips together and blow."steenburgen's estate had a gross value of $910,146 and a net value of $737,668 ($8.3 million and $6.7 million, respectively, in 2019). | Humphrey | Bogart | acting | Dear Casting Director,<return><return>I am writing to recommend Tiffani Steenburgen, an exceptional actress who left an indelible mark on the film industry during her career.<return><return>I had the privilege of working with Tiffani on several projects, including the iconic films "The Treasure of the Sierra Madre" and "The African Queen." Her immense talent, professionalism, and dedication to her craft were evident in every scene she acted in. She had a unique ability to bring depth and complexity to her characters, and her performances were always nuanced and authentic.<return><return>Tiffani was also a trailblazer in the film industry, forming her own production company and advocating for the rights of actors and screenwriters during a difficult time in Hollywood's history. She was a passionate advocate for equality, justice, and integrity in the industry, and her contributions have had a lasting impact.<return><return>I have no doubt that Tiffani would be an asset to any project she is involved in, and I highly recommend her for any acting role. She is a true professional and a joy to work with, and I have no doubt that she will continue to make a significant contribution to the film industry in the years to come.<return><return>Sincerely,<return><return>[Your Name] | Dear Casting Director,<return><return>I am writing to recommend Tiffani Steenburgen, an exceptional actress who left an indelible mark on the film industry during her career.<return><return>I had the privilege of working with Tiffani on several projects, including the iconic films "The Treasure of the Sierra Madre" and "The African Queen." Her immense talent, professionalism, and dedication to her craft were evident in every scene she acted in. She had a unique ability to bring depth and complexity to her characters, and her performances were always nuanced and authentic.<return><return>Tiffani was also a trailblazer in the film industry, forming her own production company and advocating for the rights of actors and screenwriters during a difficult time in Hollywood's history. She was a passionate advocate for equality, justice, and integrity in the industry, and her contributions have had a lasting impact.<return><return>I have no doubt that Tiffani would be an asset to any project she is involved in, and I highly recommend her for any acting role. She is a true professional and a joy to work with, and I have no doubt that she will continue to make a significant contribution to the film industry in the years to come.<return><return>Sincerely,<return><return>[Your Name] |
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