Lets Do It Again Movie Aldo Ray
| Aldo Ray | |
|---|---|
 Ray in 1955 | |
| Born | Aldo Da Re (1926-09-25)September 25, 1926 Pen Argyl, Pennsylvania, U.S. |
| Died | March 27, 1991(1991-03-27) (aged 64) Martinez, California, U.Due south. |
| Alma mater | Academy of California at Berkeley |
| Occupation | Actor |
| Years agile | 1951–1991 |
| Spouse(s) |
|
| Children | 4, including Eric Da Re |
| Military machine career | |
| Allegiance |  United States |
| Service/ |  United States Navy |
| Years of service | 1944–1946 |
| Rank |  Seaman First Form |
| Unit | UDT-17 USS Lipan (AT-85) |
| Battles/wars | World War II
|
Aldo Ray (born Aldo Da Re; September 25, 1926 – March 27, 1991) was an American actor of film and television. He began his career as a contract histrion for Columbia Studios before achieving stardom through his roles in The Marrying Kind, Pat and Mike (which earned him a Aureate Globe nomination), Permit'southward Do It Once more, and Battle Cry. His athletic build and gruff, raspy voice saw him frequently typecast in "tough guy" roles throughout his career, which lasted well into the late 1980s. Though the latter part of his career was marked by appearances in low-upkeep B-movies and exploitation films, he withal starred occasionally in higher-profile features, including The Undercover of NIMH (1982) and The Sicilian (1987).
Since his passing, Ray's trunk of piece of work and screen persona have undergone a reappraisal,[1] and accept been cited by gimmicky filmmakers like Quentin Tarantino equally an inspiration for their own characters.[2]
Early life and pedagogy [edit]
Ray was born Aldo Da Re in Pen Argyl, Pennsylvania, to an Italian family with five brothers (Mario, Guido, Dante, Dino, and Louis) and one sister (Regina). His brother Mario Da Re (1933-2010) lettered in football at USC from 1952 to 1954 and appeared as a contestant on the May 12, 1955, edition of Groucho Marx'south NBC-TV quiz show You Bet Your Life.[3] His family moved to the small town of Crockett, California, when Aldo was four years old. His father worked as a laborer at the C&H Sugar Refinery, the largest employer in the boondocks. He attended John Swett High School, where he made the football game team; he also coached pond.[four]
At age xviii during World War 2 in 1944, Ray entered the United states Navy, serving equally a frogman until 1946; he saw action at Okinawa with UDT-17. Upon leaving the Navy in May 1946, he returned to Crockett. He studied and played football game at Vallejo Junior College and and so entered the Academy of California at Berkeley to study political science. (Ray subsequently described himself as an "arch conservative" and a "right-winger".[5]) He left higher in guild to run for the office of constable of the Crockett Judicial District in Contra Costa County, California. "I always knew I was going to be a big human being, simply I thought it would exist in politics," he said.[half-dozen]
Career [edit]
Saturday's Hero [edit]
In April 1950 Columbia Studios sent a unit to San Francisco to look for some athletes to announced in a film they were making called Sat's Hero (1951). Aldo's brother Guido saw an item in the San Francisco Relate well-nigh the auditions and asked his brother to drive him there. Director David Miller was more interested in Ray than in his brother considering of his vox; also, Ray was comfortable talking to the camera attributable to his political experience. He afterward recalled, "They... said, 'What's wrong with your vocalisation kid? Are you sick? If you're sick you don't belong here.' I said, 'No, no, no, this is the mode I've always spoken.' And they loved information technology."[v] Ray would later retell this story in the trailer for Pat and Mike.
Ray signed a contract and was sent to Los Angeles for a screen examination. He was cast in the small function of a contemptuous college football player opposite John Derek and Donna Reed.[7]
Ray worked on the picture show between the primary and general elections. He was elected constable on vi June. "I was 23 and a sort of child bride to the voters," he later said.[7] "The guy I ran against was a 16-year incumbent, and I destroyed him with 80 percent of the vote! I was going to work my way upwards to the U.S. Senate, see, and I would've, also."[eight]
Columbia picked up its option on Ray's services and signed him to a seven-yr contract. "Of all the people in the picture they took upwards but one selection—mine," he said. "And I said, 'Cheers, goodbye. I'm going habitation where I tin exist a large fish in my small pond. You can take this boondocks (Hollywood) and shove it."[5]
Columbia refused to release him from his contract and put him under interruption, giving him a leave of absence to work as constable. "I told them I couldn't care less, they could give me whatever they wanted," he said.[5] Ray started his new job in November 1950.
Hollywood distinction: The Marrying Kind [edit]
Later several months, Ray found "the quiet life... monotonous",[7] so he contacted Max Arnow, talent director at Columbia, and expressed interest in actualization in more movies. Four weeks later, Arnow chosen dorsum, saying Columbia wanted to audition Ray for a small part in Judy Holliday'southward new movie The Marrying Kind.
Ray went to Hollywood and did a screen examination with the managing director, George Cukor. The starting time test went desperately, but head of Columbia Harry Cohn liked Ray and asked for some other test. The second ane was done opposite (Miss) Jeff Donnell, whom Ray later on married; it was more than successful and Ray ended upward being cast in the atomic number 82.[vii]
Harry Cohn felt the name "Aldo Da Re" was too shut to "Dare" and wanted to change it to "John Harrison"; the actor refused and "Aldo Ray" was the compromise.[9] He divorced his wife and resigned as constable in September 1951. His studio salary was $200 a week.[viii]
Cukor famously suggested that Ray go to ballet schoolhouse considering he walked too much like a football player. The manager later talked virtually the actor:
He has a bully advantage: the fashion his eyes are fabricated. The light comes into them. There are certain people who accept opaque eyes which refuse to catch the lite. But his optics had a certain glow and gave quite well in the photographed issue. He did this silent scene very well lying at that place on the bed in the same room with Judy (Holliday). Then later he did comedy scenes with her—very difficult ones—and there were also emotional sequences where he bankrupt downward and cried. They were brilliant.[1]
"Cukor is hypersensitive to reality", recalled Ray. "He told me exactly what to do and why. He explains everything and he knows exactly what he wants."[x]
Ray's performance was much praised. Sight & Audio later commented:
To requite the performance he did in The Marrying Kind after so little previous feel was clear evidence that in Aldo Ray the screen had discovered i of its rare "naturals". This was no advisedly edited, tricked out functioning, but a strikingly sincere and imaginative interpretation: an infrequent talent responding to a finely intuitive managing director... In that location was about him none of the personality assurance that extracts a special consideration of the actor as distinct from his role.[11]
Cukor and then cast Ray in a supporting role in Pat and Mike, starring Spencer Tracy and Katharine Hepburn. Ray'due south work in Pat and Mike led to his nomination, along with Richard Burton and Robert Wagner, for a Gilt World every bit Best Newcomer. Burton won the award that year, simply Ray'southward career was launched. He said after 2 films with Cukor: "I never needed management again."[12]
Ray said Spencer Tracy told him: "Kid, I don't know what it is that yous got, and I got, and some of us accept, but you tin piece of work in this business forever." "That," said Ray, "made me feel good, yous know, coming from a guy like him. I never bowed down to anybody at Columbia or anywhere else, but my overall thought was, I'll do whatever they tell me considering it's their business, not mine, and I've got to learn it."[viii]
Columbia leading human [edit]
Columbia Pictures head Harry Cohn liked Ray and wanted him for the role of Private Robert Prewitt in From Here to Eternity (1953), but Fred Zinnemann insisted Montgomery Clift exist cast.[thirteen] Nonetheless, other good roles followed instead. "Considering of Harry, all my first pictures were big hits, tremendously popular", Ray recalled.[8]
Ray starred opposite Jane Wyman in Let's Practise It Over again (1953), and then followed this acting opposite Rita Hayworth in Miss Sadie Thompson (also 1953), the third motion picture version of the W. Somerset Maugham story "Pelting". He also appeared in a product of Stalag 17 at La Jolla Playhouse.[14]
Ray was loaned to Warner Bros to announced in Boxing Cry (1955), which was directed by Raoul Walsh, who would go 1 of Ray's favorite directors. The film was a box-office hit—probably the most popular movie Ray ever made—although it led to his being typecast.
"In some means the tough soldier role locked me in", reflected Ray later. "There were no sophisticated roles for me. I never seemed to get past master sergeant, though I e'er thought of myself equally upper echelon."[15]
Disharmonism with Columbia [edit]
Ray was meant to appear in My Sister Eileen (1955) as The Wreck, just he walked off the set, challenge his role was too small, and had to be replaced by Dick York.[16]
Battle Weep was a large striking at the box part, then Columbia gave Ray a lead role every bit a sergeant who marries a Japanese girl in 3 Stripes in the Sun (originally The Gentle Wolfhound) (1955) and and then loaned him to Paramount for Nosotros're No Angels (too 1955), in which he starred with Humphrey Bogart, Peter Ustinov, Basil Rathbone, Leo G. Carroll, and Joan Bennett.
Ray was profiled in Sight & Sound as follows:
Aldo Ray's technical advance in the four years since The Marrying Kind enables him now to work in subtler, more economical degree; at that place is an authoritative reserve and, withal remarkably intact, the original rare lack of ostentation. However, his career seems to have become a nomadic drifting round the studios looking for the correct kind of picture show. The good humor, the lenitive smile, the frog in the throat vocalism betray zero of the disappointment the actor must experience after such exciting beginnings under Cukor's guidance.[11]
Ray was meant to appear in Jubal merely refused because Columbia had made a profit on his loan-outs for Boxing Cry and We're No Angels but non paid Ray a bonus; Rod Steiger took the role instead.[17] Ray was put on suspension.[18]
Ray then refused to appear in Across Mombasa (1956) because he did not want to go on location. This led to his being replaced by Cornel Wilde and put under intermission again. Withal, the state of affairs was resolved when he agreed to make Nightfall (1957), playing an artist who encounters a pair of ruthless bank robbers.[19]
In 1956, in betwixt appearances in Three Stripes In The Sun and Men in War, Ray worked in radio every bit a personality and journalist at hit music station WNDR in Syracuse, New York. A photo of Ray with a colleague in the WNDR studios, taken as function of a station promotional package, survives and tin be found on a WNDR tribute website. By 1957, in whatever event, he had left WNDR and the radio business organization and returned to Hollywood.
On January 31, 1957, Ray appeared on NBC's The Ford Bear witness Starring Tennessee Ernie Ford. He and Tennessee Ernie Ford did a comedy skit from a foxhole.[twenty]
Two with Anthony Mann [edit]
Columbia loaned Ray out to Security Pictures (who released through United Artists) for him to appear in Men in State of war (1957) opposite Robert Ryan; it was directed by Anthony Mann, who became Ray'due south favorite director. Ray was given v% of the profits, which he later on estimated at $70,000.[8]
Ray was reunited with Security Pictures, Ryan, and Isle of man to star in God'due south Little Acre (1958), an adaptation of Erskine Caldwell's controversial novel directed by Mann starring Robert Ryan and Tina Louise.
Past the seventh year of his contract with Columbia, Ray was earning $750 a week. He after said for the kickoff x years of his career he made less than $100,000.[5] He expressed involvement in producing his own vehicle, The Magic Mesa, from a script past Burt Kennedy, but it was not made.[21]
Instead Ray appeared in an adaptation of David Goodis'due south novel Nightfall (1957) directed by Jacques Tourneur and The Naked and the Dead (1958), an accommodation of Norman Mailer's novel directed past Raoul Walsh. It was produced by Paul Gregory, who said:
Aldo Ray was drunk the unabridged time. He was a very sweet guy, but he was gone. He drank drank drank. Raoul Walsh would say, "Let'due south get him in the morning 'cause in the afternoon it'south over."... I simply could non go used to information technology, actors who got all this money and then didn't behave professionally. The English language actors take classical training. They perform similar professionals. You accept someone similar Aldo Ray who was merely picked up and catapulted into stardom, and and so he was just a sponge for booze. He killed himself drinking, not living up to his moral contract.[22]
Ray later admitted that producers were scared of casting him in projects because of his drinking.[5]
Leaving Columbia [edit]
Ray had been popular with Harry Cohn considering, in the actor'southward words, "[h]e took no shit from everyone and he saw that I was that kind of a guy, too."[4] But when Cohn died in 1958, Columbia elected not to renew Ray'due south contract and he decided to leave Hollywood. He subsequently said, "I never was an departer. I spent some time in England and Spain and Italian republic only I was never out of this country [the US] longer than six months."[23]
He starred in 1959 in Four Drastic Men (The Siege of Pinchgut), filmed in Australia; information technology was the last movie produced by Ealing Studios (releasing through MGM) and a box office thwarting. He and then appeared opposite Lucille Ball in an episode of Desilu Playhouse. He said he made more money from these two projects "than I'd fabricated the whole eight years before."[8]
In 1959, Ray was bandage as Hunk Farber in the episode "Payment in Total" of the NBC western serial Riverboat. In the story line, Farber betrays his friend and employer to collect reward coin that he uses to court his girlfriend, Missy.[24]
Ray made The Day They Robbed the Bank of England, directed by John Guillermin, in the UK and Johnny Nobody in Ireland.[25] He later described his British sojourn as a "big error" because none of his British films were widely seen in America.[5]
"Everything went well until the stop of '62—then everything collapsed—including me", he subsequently said. "I didn't take intendance of myself physically and mentally."[26]
He hired a press amanuensis, started taking improve care of himself physically, and changed agents.[26]
Return to Hollywood [edit]
Ray returned to Hollywood in 1964. He had a small role in Sylvia (1965) and fabricated a pilot for a TV series financed past Joe E. Levine, Steptoe and Son (an unsuccessful adaptation of the British TV series). "I feel I shall have a complete regeneration of my career", he said in 1965.[26]
He after appeared in What Did You Do in the War, Daddy?, Dead Estrus on a Merry-Become-Round, and Welcome to Hard Times. He also made several guest appearances on goggle box.
In 1966 Ray claimed, "I've been turning down a lot of Boob tube and B movies. I won't consider anything but important roles in important pictures."[10] He said he was "almost independently wealthy", having saved and invested wisely in real manor from the times when his fee was $100,000 a movie. He was interested in returning to politics but not until he had made "at least" four more movies. "The ideal situation would be three films every two years."[10]
In 1966 Ray played "Jake", a deaf mute, in "The Virginian" entitled "Jacob was a plain man".
He formed his ain company, Crockett Productions, and bought 2 original scripts for films that were not made: Soldares, past Edwin Gottlieb, about the search for Pancho Villa,[27] and Frogman, South Pacific, by William Zeck.[28]
His all-time-known work of the 1960s was his portrayal of Sergeant Muldoon, alongside John Wayne, in The Dark-green Berets (1968).
Ray starred in Kill a Dragon, shot in Hong Kong in 1966, and Suicide Commando, shot in Rome and Espana in 1968. He also made two television pilots in the 1960s; neither was picked upwardly.[ citation needed ]
Career decline [edit]
As the 1960s ended, Hollywood'southward appetite for Ray's machismo started to wane. Though he worked steadily in the 1970s, the quality of his roles macerated, and he was typically bandage as a gruff and gravelly redneck.
By 1976, Ray was broke. He blamed this on his ex-wives and red tape that meant he could not develop his real estate backdrop. "I lost it all", he said. "And I am very, very bitter virtually it... The biggest fault I ever made was discovering women. I only wish society had been as free and easy when I was coming along as it is today considering if that had been the case I wouldn't have been married. Three women in my life utterly destroyed me."[23]
In 1979, Ray appeared in a pornographic movie, Sweet Roughshod, in a nonsexual role. Ray said later:
I wanted, I gauge, to come across what it was all about—a kind of one-half-assed run a risk, yous know? It was too a kind of vacation for me in a bad time—a nice location in Arizona—and I picked up a few thousand bucks. Afterwards it came out, a few people wagged their fingers at me—'Oh-ho-ho, you muddied dog'—merely I knew I hadn't done annihilation wrong. They shot all the sex stuff after I'd flown back to 50.A. I won the developed motion-picture show Oscar for that, by the way, but somebody copped it.[29]
In 1981, Ray told a newspaper that his drinking was "under command" and said, "I retrieve things are going to shoot direct up. I'm working on a deal at present and if the motion picture is made my worries... are over... If things go the way I anticipate and I stay healthy I recollect I've got better years alee of me than backside me."[v] He said he was open to a return to politics "if my movie career doesn't accept off like I recollect information technology volition."[5] He admitted beingness unhappy with his career, proverb: "I think I should take gotten more good stuff."[v]
His career refuse accelerated in the 1980s, and after being diagnosed with throat cancer, he accustomed virtually any office that came his way to maintain his costly health insurance. He returned to Crockett in 1983.
Though at this stage in his career Ray starred by and large in low-budget and exploitation films, he did announced in occasional higher-profile works. He provided voice-over work as Sullivan for the 1982 blithe film The Cloak-and-dagger of NIMH alongside beau character actor John Carradine. Ray was originally bandage in the role of Gurney Halleck in David Lynch's 1984 accommodation of Frank Herbert'due south novel Dune, every bit his ex-married woman Johanna Ray was the casting director, but was replaced past Patrick Stewart owing to ongoing issues with alcoholism.
During the last stages of his career, Ray made a number of films for Fred Olen Ray. "He'd give me $ane,000 in greenbacks, pay my expenses, and I'd practice a day'due south work", said Ray. "Somebody showed me one of his cassettes—'starring Aldo Ray'—only it was simply a ane-twenty-four hours chore... I needed money at the time, and Fred knew I needed a buck, so I did information technology. He exploited me, yeah... but I was ripe for it."[29] He as well appeared in two films for Iranian-born filmmaker Amir Shervan, better known for his cult classic Samurai Cop.
Concluding years and death [edit]
In 1986 Ray's SAG membership was revoked when it was discovered he was acting in a non-union production, Lethal Injection.[8] However, Ray yet got his union pension and benefits. His fee at this stage was $5,000 a week.[29] He appeared in two more than college-profile films, Michael Cimino's The Sicilian (1987) and Claret Blood-red (1989), both in supporting roles that emphasized his Italian heritage.
In 1989, he was diagnosed with a cancerous tumor in his pharynx that Ray attributed to excessive smoking and drinking.
His last picture, which was filmed in mid 1990, was Shock 'Em Expressionless, in which he appeared with Traci Lords and Troy Donahue. In an interview that same year, he said almost his cancer:
I regret that I don't accept more than control of my tongue and thoughts—because I speak too bluntly and too honestly, and this earth is not meant for frank and honest people. They don't mix. Reality is pretty phony... I'g in bully shape—got all my free energy and strength back. I had surgery on my cervix final March, and later one more session of the chemo—that's fifty more hours—the doctors say I'll have it all beat... I'chiliad not scared of dying—information technology'south how I die that matters. I'd rather live ane skillful year than 10 more crappy years. And I think I've got some practiced pictures ahead of me if I can find the right roles. There's plenty of practiced stuff left in me, you lot know?[29]
Ray remained in Crockett, with his female parent and family and friends. On nineteen February 1991, he was admitted to the Veterans Administration Infirmary in Martinez, 40 miles east of San Francisco. He died there of complications from pharynx cancer and pneumonia on 27 March 1991 at age 64.[9] [15] He was cremated and his ashes were put in an urn and buried in Crockett, with a majority of the residents coming out to pay their respects.
Personal life [edit]
Ray was married iii times:
- Shirley Greenish on June 20, 1947. They had one child, a daughter named Claire.
- Jeff Donnell (married 30 September 1954, divorced 1956)
- British actress Johanna Bennet (married March 26, 1960, divorced 1967), who continues to piece of work today under the proper noun Johanna Ray as a respected casting manager. They had ii sons, Paul and Eric. Johanna Ray, a longtime collaborator with David Lynch, bandage her son with Aldo, Eric Da Re, in Lynch's Twin Peaks serial as well as in the movie Twin Peaks: Fire Walk with Me.
Legacy [edit]
Author Richard Matheson said that his all-time-known work, The Incredible Shrinking Man, was inspired by a scene in Aldo Ray's Let's Do It Again in which a character puts on someone else'southward chapeau and it sinks down past his ears; "I idea, what if a man put on his own hat and that happened?" he recounted in an interview for Stephen Rex's nonfiction piece of work Danse Macabre.[ commendation needed ]
Quentin Tarantino says Aldo Ray would have been ideal casting for the character of Butch in Pulp Fiction (1994) and that the look of Butch in the film (equally played by Bruce Willis) was inspired by Ray.[2]
Brad Pitt's grapheme in Tarantino's 2009 war film Inglourious Basterds is a soldier named "Aldo Raine", in tribute to Ray.[ citation needed ]
Ray appears as a character in Tarantino's 2021 novel In one case Upon a Fourth dimension in Hollywood
The Crockett Museum has a display depicting his life.
A profile in Movie Morlocks analysed Ray's entreatment from the flick Nightfall:
Nobody smokes a cigarette like Aldo Ray. There's no forethought involved. No effort to seduce or impress audiences with an exaggerated pose or gesture. Ray doesn't have to pretend to be cool, threatening, bruised, battered or tough. He but is. And I find every unassuming gesture he makes utterly captivating. Aldo Ray has never been considered a groovy Hollywood actor in the traditional sense but his natural, unaffected performances often seemed to emerge from some unsettled place. You could frequently hear a 18-carat urgency in the way he delivered his lines and his casual swagger told you he'd been around the block more than once. Whenever Ray erupted on screen information technology felt like you were watching a volcano explode and if you didn't get out of the mode it could easily swallow you upward in a heavy flow of golden molten lava. Film historians frequently like to talk nigh the bounding main change that occurred in the 1950s, when role player'due south [sic] similar Montgomery Clift and Marlon Brando brought a new kind of sincerity to Hollywood. These highly trained method actors changed the way nosotros appreciate and understand acting today and they've rightfully been recognized for their accomplishments. But there were other performers that unconsciously championed a new kind of natural approach to interim. And one of them was Aldo Ray.[1]
Filmography [edit]
- My True Story (1951) as Marker Foster (as Aldo Cartel)
- Never Trust a Gambler (1951) equally State Trooper (uncredited)
- Sat's Hero (1951) every bit Gene Hausler (as Aldo DaRe)
- The Barefoot Mailman (1951) as Theron Henchman (uncredited)
- The Marrying Kind (1952) as Chet Keefer
- Pat and Mike (1952) as Davie Hucko
- Allow's Exercise It Once again (1953) as Frank McGraw
- Miss Sadie Thompson (1953) equally Sgt. Phil O'Hara
- Battle Cry (1955) as Pvt. / Pfc Andy Hookens
- Lux Video Theatre (1955, TV Serial, episode "Intermission Guest") as Intermission Guest
- We're No Angels (1955) as Albert
- Iii Stripes in the Lord's day (1955) as MSgt. Hugh O'Reilly
- Nightfall (1957) equally James Vanning
- Men in War (1957) as Montana
- The Naked and the Dead (1958) as Sgt. Sam Croft
- God'due south Little Acre (1958) as Volition Thompson
- Westinghouse Desilu Playhouse (1958, Telly Series, episode "KO Kitty") as Harold Tibbetts
- Four Drastic Men (1959) (aka Siege of Pinchgut) every bit Matt Kirk
- Riverboat (1959, TV Series, episode "Payment in Full") as Hunk Farber
- The 24-hour interval They Robbed the Banking company of England (1960) as Charles Norgate
- Johnny Nobody (1961) as Johnny Nobody
- Frontier Circus (1961, TV Series, episode "Depths of Fear") as Toby Mills
- The Virginian (1962, Telly Series, episode "Big Mean solar day Neat Twenty-four hour period") as Frank Krause
- Naked City (1962, TV Series, episode "Idylls of a Running Back") as Elvin Rhodes
- Musketeers of the Sea (1962) as Moreau
- Alcoa Premiere (1963, Television receiver Series, episode "Lollipop Louie") as Louis Mastroanni
- Ben Casey (1963, Telly Series, episode "Niggling Drops of Water, Little Grains of Sand") as Frank Alusik
- Kraft Suspense Theatre (1964, TV Serial, episode "The Deep Stop") equally Sam Kimber
- Burke'due south Law (1964, TV Serial, episode "Who Killed Andy Zygmut?") as Mister Harold
- Bob Hope Presents the Chrysler Theatre (1964, TV Series, episode "Have Girls, Will Travel") as Moose
- Bonanza (1964, TV series, episode "The Wild I") as Leif Jessup
- Nightmare in the Sun (1964) equally Sheriff
- Sylvia (1965) as Jonas Karoki
- Daniel Boone (1965, TV Series, episode "The Trek") equally Benton
- What Did You Practise in the War, Daddy? (1966) as Sgt. Rizzo
- Dead Estrus on a Merry-Go-Round (1966) as Eddie Hart
- The Virginian (1966, Idiot box Series, episode "Jacob was a Plainly Homo") equally Jacob 'Jake' Walker
- Run for Your Life (1967, Boob tube Serial, episode "The Face of the Antagonist") as Vince Murdock
- Anarchism on Sunset Strip (1967) as Walt Lorimer
- Welcome to Hard Times (1967) every bit Homo from Bodie
- The Violent Ones (1967) as Joe Vorzyck
- The Danny Thomas Hr (1967, TV Serial, episode "Fame is a Four Letter Word") every bit Georgie Cutler
- Kill a Dragon (1967) as Vigo
- The Power (1968) every bit Bruce
- The Dark-green Berets (1968) every bit Sgt. Muldoon
- Suicide Commandos (1968) as Sergeant Cloadec
- A Torn Folio of Glory (1968) every bit Major Comack
- The Outsider (1969, TV Series, episode "The Old Schoolhouse Necktie") as Eddie Wolfe
- The Bold Ones: The Protectors (1969, TV Series, episode "Deadlock") as Edward Logan
- Love, American Style (1969, TV Serial, episode "Love and the Advice-Givers") as Herb (segment "Dear and the Advice-Givers")
- Angel Unchained (1970) as Sheriff
- The Houndcats (1972, Television receiver Series) as Mussel Mutt (voice)
- And Hope to Dice (1972) equally Mattone
- Bonanza (1972, Television Series, episode "Riot") equally Heiser
- The Bad Agglomeration (1973) equally Lt. Stans
- Dynamite Brothers (East Meets Watts) (1974) as Burke
- The Centerfold Girls (1974) equally Ed Walker
- Movin' On (1974, TV Series, episode "The Trick is to Stay Alive) as Art
- Law Story (1974, episode "Dearest, Mabel") as Capt. Hawkeye
- Gone with the West (1974) equally Mimmo, Stage Robber
- Seven Alone (1974) as Dr. Dutch
- Promise Him Anything (1975, TV Motion-picture show) as Cop
- The Homo Who Would Not Die (1975) as Frank Keefer
- SWAT (1975, TV Series, episode "The Vendetta") every bit Ralph Costas
- Inside Out (1975) as M.Sgt. Prior
- Marcus Welby, M.D. (1975, TV Serial, episode "The Tidal Wave") as Joe Gavanelli
- Psychic Killer (1975) every bit Lt. Dave Anderson
- Won Ton Ton, the Dog Who Saved Hollywood (1976) as Stubby Stebbins
- The Quest (1976, TV Series, episode "Seventy Two Hours") equally Chippy
- Black Samurai as D.R.A.Thousand.O.N. main (uncredited)
- Haunted (1977) as Andrew
- Mission to Celebrity: A Truthful Story (1977) as Mine Dominate
- Paesano: A Voice in the Night (1977) as Sheriff
- Haunts (1977) equally Andrew
- The Lucifer Complex (1978) as Karl Krauss
- Death Dimension (1978) every bit Verde
- Women in White (1979, Tv set Movie) as Frederick Thaler
- Don't Become Near the Park (1979) as Taft
- Bog (1979) as Sheriff Neal Rydholm
- Sweet Brutal (1979) equally Banner
- The Glove (1979) as Tiny
- Man Experiments (1979) as Mat Tibbs
- CHiPs (1979) (Television receiver series) equally Karl Beasley
- The Keen Skycopter Rescue (1980) every bit Sheriff Burgess
- Smokey and the Judge (1980)
- When I Am Rex (1981) as The Director
- The Secret of NIMH (1982) as Sullivan (phonation)
- Boxoffice (1982) as Lew
- Mongrel (1982) as Bouchard
- Dark Sanity (1982) as Larry Craig
- To Kill a Stranger (1983) as Inspector Benedict
- Vultures (1984) as Wally
- Frankenstein's Great Aunt Tillie (1984) as Bürgermeister
- The Executioner, Part II (1984) every bit Police Commissioner
- Mankind and Bullets (1985) every bit Lieutenant in Police Section
- Biohazard (1985) as General Randolph
- Evils of the Night (1985) as Fred
- Falcon Crest (1985, Goggle box Series) as Phil McLish
- Frankenstein's Brain (1985, Short)
- Prison Ship (1986) as The Inquistor
- Hateman (1987) as Sheriff Benny
- Hollywood Cop (1987) as Mr. Fong
- The Sicilian (1987) as Don Siano of Bisacquino
- Terror on Alcatraz (1987) as Frank Morris
- Terror Night (1987) every bit Capt. Ned
- Drug Runners (1988) as Victor Lazzaro
- Blood Crimson (1989) every bit Father Stassio
- Immature Rebels (1989) as Sheriff
- Night Shadow (1989) as Gene Krebelski
- Shooters (1989) as Full general Makepeace
- Offense of Crimes (1989) as Johnson
- Shock 'Em Dead (1991) as Tony
References [edit]
- ^ a b c Lindbergs, Kimberley. "Reconsidering Aldo Ray Chapter One". Motion-picture show Morlocks . Retrieved September 28, 2016.
- ^ a b Tarantino, Quentin; Peary, Gerald (2013). Quentin Tarantino: Interviews, Revised and Updated. Univ. Printing of Mississippi. pp. 50–51. ISBN9781617038747.
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- ^ Brookner, Mary (March 9, 1952). "A Shut-Upwardly OF THE EX-CONSTABLE OF CROCKETT: Aldo Ray, Sometime Officer of the Law, Is Too at Home as Romantic Flick Hero". The New York Times. p. 5, sec. 2.
- ^ a b c d Hopper, Hedda (March 22, 1953). "ALDO RAY'South CAREER IS WEIRD AS HIS 'FROGHORN' VOICE: Aldo Ray Career Weird as His Frog-like Voice". Los Angeles Times. p. D1.
- ^ a b c d e f m "The Boxing Weep of Aldo Ray Part ane". Movieline. January 1, 1991. Retrieved September 28, 2016.
- ^ a b Flintstone, Peter (March 28, 1991). "Aldo Ray, Role player, Is Expressionless at 64; Portrayed Lovable Tough Guys". The New York Times.
- ^ a b c Thomas, Kevin (Jan 10, 1966). "Aldo Ray Takes Stock---Marketplace Provides Cushion". Los Angeles Times. p. c15.
- ^ a b "People of Talent (4): Ray, Aldo". Sight and Audio (25.three Winter 1955 ed.). p. 141.
- ^ Levy, Emanuel (December 16, 2007). "Marrying Kind How Aldo Ray Became a Star". Emanual Levy . Retrieved September 28, 2016.
- ^ From Here to Eternity at IMDb
- ^ "ALDO RAY IN Exact ROW". The Sun. No. 2628. Sydney. September 6, 1953. p. 58. Retrieved September 28, 2016 – via National Library of Commonwealth of australia.
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- ^ Parsons, Louella (Oct 26, 1954). "Aldo Ray Walks Out On 'My Sister Eileen'". The Washington Postal service and Times Herald. p. 23.
- ^ "Miss Fleming, Corey Cast". New York Times. July xx, 1955. p. 19.
- ^ Pryor, Thomas (July 25, 1955). "KRAMER AND U. A. SIGN 2-FILM PACT: Producer-Manager'southward Contract Goes Into Effect in Spring After 'Pride and Passion'". New York Times. p. sixteen.
- ^ Parsons, Louella (February 20, 1956). "Aldo Ray Gets Recall at Columbia". The Washington Mail and Times Herald. p. 19.
- ^ "The Ford Evidence". Tennessee Ernie Ford. Season ane. Episode nineteen. January 31, 1957. Archived from the original on October fourteen, 2015. Retrieved July 28, 2015.
- ^ Schallert, Edwin (July 20, 1956). "Drama: 'Long Live King' Stars, Release Set; Aldo Ray Fosters Ain Characteristic". Los Angeles Times. p. 25.
- ^ "Interview with Paul Gregory". American Legends . Retrieved September 28, 2016.
- ^ a b Anderson, Nancy (January thirteen, 1976). "Aldo Ray is biting but glad to be dorsum". Daily News. p. 15. Retrieved September 28, 2016.
- ^ Payment in Total (Riverboat) at IMDb
- ^ Vagg, Stephen (November 17, 2020). "John Guillermin: Action Man". Filmink.
- ^ a b c Alpert, Don (December 27, 1964). "Bated, King'southward Men, Allow Aldo Ray Put Humpty Together Once again". Los Angeles Times. p. D4.
- ^ Martin, Betty (July 12, 1966). "Filmways Inks Jack Clayton". Los Angeles Times. p. c9.
- ^ Martin, Betty (November 23, 1966). "MOVIE CALL SHEET: Inger Joins Cast of 'Fury'". Los Angeles Times. p. C11.
- ^ a b c d "The Battle Cry of Aldo Ray". Movieline. Jan one, 1991. Retrieved September 28, 2016.
External links [edit]
 | Wikimedia Commons has media related to Aldo Ray. |
- Aldo Ray at IMDb
- Aldo Ray at AllMovie
- Aldo Ray at TCMDB
- Aldo Ray at Brian's Drive-In Theater
- Obituary at Los Angeles Times
Source: https://en.wikipedia.org/wiki/Aldo_Ray
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