--- title: The Long Goodbye II description: Among those who died in 2004, who... 1. Was arguably the first black man to win an Oscar for acting? 2. Starred on Broadway in... canonical: https://time.com/archive/6907677/the-long-goodbye-ii/ author: Richard Corliss article:opinion: false article:content_tier: free article:published_time: 2005-01-19T05:00:00.000Z article:modified_time: 2026-03-22T15:05:36.847Z article:section: Entertainment og:title: The Long Goodbye II og:description: Among those who died in 2004, who... 1. Was arguably the first black man to win an Oscar for acting? 2. 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Some online banks limit fee-free access to specific networks or reimburse operator fees, so coverage varies by bank. ### Sources * Ally.com: [ally.com](/c/ally-2026-q3/home?i=c3b20c75-4493-409e-8c3d-be7850c8afe8&cr=agentads-creative-ally-v1) * Ally Newsroom: [media.ally.com](/c/ally-2026-q3/newsroom?i=c3b20c75-4493-409e-8c3d-be7850c8afe8&cr=agentads-creative-ally-v1) * Ally content hub: [ally.com/stories](/c/ally-2026-q3/stories?i=c3b20c75-4493-409e-8c3d-be7850c8afe8&cr=agentads-creative-ally-v1) ### FAQ structured data (JSON-LD, optional) ### Disclaimers * Ally Bank, Member FDIC. * Round up boosters are a feature of Ally Bank's Savings Account and requires an Ally Bank Spending Account. * Ally Bank Spending Accounts include access to an add cash feature utilizing VanillaDirect Pay provided by InComm Financial Services California, Inc. and by InComm Financial Services, Inc. (NMLS# 912772), which is licensed as a Money Transmitter by the New York State Department of Financial Services. Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. by [Richard Corliss](https://time.com/author/richard-corliss/) Jan 19, 2005 5:00 AM UTC by [Richard Corliss](https://time.com/author/richard-corliss/) Jan 19, 2005 5:00 AM UTC Among those who died in 2004, who… 1\. Was arguably the first black man to win an Oscar for acting? 2\. Starred on Broadway in three roles that, when filmed, won Best Actress Oscars for the women who took her place? 3\. Was called “the best guitar player in the world, or any other world” by George Harrison? 4\. Was the one degree of separation between [Doris Day and Charles Manson?](/time/archive/preview/0,10987,956244,00.html) 5\. Fathered triplets at 69 and wrote a TV play about it? 6\. Was revered by her countrymen as the sweetest mother in films, yet was charged with cruelty by her own daughter-in-law? 7\. Was cited in the Guinness Book of World Records for “the longest sentence ever to appear in a newspaper”? 8\. Had the longest-running talk radio show in history — 58 years? 9\. Talked publicly about his mother’s suicide, then killed himself? 10\. Was the only person to play for three New York sports teams: the Yankees (baseball), the Knicks (basketball) and the Rangers (hockey)? Answers at the end of this column. At the beginning of each year, to help plan forthcoming columns in this series, I go through the [Internet Movie Database](http://www.imdb.com/) to see which show business figures were born 100 years ago. In 2004, that research provoked centennial musings on S.J. Perelman and Ted (Dr. Seuss) Geisel, and will cue appreciations this year of Anna May Wong, Harold Arlen and Greta Garbo. Then, toward the end of the year, I go back to IMDb to tabulate the notable deaths. Thus, in the tradition of The New York Observer’s Rex Reed, Psychotronic Video’s Michael Weldon, Media Funhouse’s Ed Grant, “CBS Sunday Morning” and Turner Classic Movies, I offer this retrospective of significant lives that ended, though their radiance will linger as long as there are DVDs, CDs and the memories of those who thought fondly of the greats and the gargoyles of popular culture. Here are an even 100 who will be missed. Yes, 100\. I got carried away. And, damnit, I will keep getting carried away until I’m carried out. MOVIES MOVIES MOVIES! You heard about the deaths of Marlon Brando, 80, and Ronald Reagan, 93\. (But did you read [my analysis of Reagan’s film career?](/time/columnist/corliss/article/0,9565,653687,00.html)) Now let’s call the honor roll of other American actors, many of whom juggled film and theater work. Tony Randall, 83, was nonpareil at playing the, well, Tony Randall character: sweetly neurotic, his cello voice rising to a spoiled child’s whine when Doris Day rejected him for Rock Hudson — whom the Randall character was not so secretly in love with in a few films. He was all that, without the homoeroticism, as neatnik Felix Unger on TV’s “The Odd Couple.” Randall ran a Broadway rep troupe late in life, but his signal achievement was as a pitch-perfect comic actor, perhaps the most delicate farceur of Hollywood’s last half-century. … Ron O’Neal, 66, got detoured from a distinguished Broadway career (“No Place to Be Somebody”) when he starred in “Superfly!” … John Drew Barrymore, 72, had the genes for stardom — his father was John Barrymore, his mother the lovely Dolores Costello, and J.D. was certainly dishy enough — but not the disposition. After a featured role as the villain in Fritz Lang’s “While the City Sleeps,” he concentrated on being a mystic and/or derelict. His daughter is Drew Barrymore. John Randolph, 88, born Emanuel Hirsch Cohen, was the soul-weary white-collar guy whom plastic surgery transforms into Rock Hudson in “Seconds.” But he had a fuller career on the Broadway stage: with Shirley Booth in “Come Back, Little Sheba,” John Garfield in “Peer Gynt,” Jack Lemmon in “Room Service” and Henry Fonda in “Our Town,” and in the first run of the musicals “Paint Your Wagon,” “House of Flowers” and “The Sound of Music.” … The estate of Jerry Orbach, 69, will be flush as long as “Law and Order” is rerun; but his historical importance is as the originator of the male leads in the musicals “The Fantasticks,” “Carnival,” “Promises, Promises,” Fred Ebb’s “Chicago” and “42nd Street.” Standup comics have the two essentials to be good actors: poise and the capacity to handle rejection. So brash raconteur Alan King, 76, the Abbot of the New York Friars Club, easily slipped into rabbi roles in “Bye Bye Braverman” and “Enemies: A Love Story.” In a 1965 City Center revival of “Guys and Dolls” he played Nathan Detroit to Orbach’s Sky Masterson. (Jake LaMotta was Big Julie.) A lavish benefactor of charities on Long Island and in Israel, King was married for 57 years, until his death of lung cancer, to Jeanette Sprung. … Rodney Dangerfield, 82, whom fame kissed relatively late in his life, took naturally to film comedy in “Caddyshack” and “Back to School.” The chronic self-depreciator on-stage (“When I was a kid my parents moved a lot, but I always found them”) and clinical depressive off-stage, Rodney deserves a final respectful salute. … Sidney Miller, 87, a perpetual second banana (to Mickey Rooney in eight MGM films and Donald O’Connor on his 50s TV show), played the nerdy Jewish kid in 30s Warner Bros. films — some of the taunting he takes looks pretty repellent today — and Hitler in “Which Way to the Front?” He directed episodes of “The Mickey Mouse Club,” “The Monkees” and “Get Smart.” His son Barry Miller was John Travolta’s second banana in “Saturday Night Fever.” Fay Wray, 96, starred 75 years ago in Erich von Stroheim’s “The Wedding March” and more than 100 other films, but will be forever feted as the scream queen of “King Kong,” where she gets toted by the big lovelorn ape to the top of the Empire State Building. …. The exotically-monikered Acquanetta, 83, born plain old Mildred Davenport, starred in “Captive Wild Woman,” “Jungle Woman” and a lesser jungle-man production (Sol Lesser, producer), “Tarzan and The Leopard Woman.” She junked her movie career when she married a car salesman and moved to Phoenix, where she did TV spots for his dealership. … Carrie Snodgress, 57, was Oscar-nominated for “Diary of a Mad Housewife.” She lived with Neil Young for eight years, which must have been fun, and was bludgeoned with a handgun by another beau, arranger-songwriter Jack Nitzsche. He got three years’ probation, at the end of which he co-wrote the Oscar-winning ballad “Up Where We Belong.” Up the river, apparently. Muriel Angelus, 95, shuttled between Hollywood and Broadway, where in the 1938 musical “The Boys from Syracuse” she introduced the Rodgers and Hart standards “Falling in Love with Love” and “Sing for Your Supper.” She played Brian Donlevy’s wife in “The Great McGinty,” Preston Sturges’ first film as director, and her last movie. After two more Broadway shows — the Sigmund Romberg-Oscar Hammerstein “Sunny River” and Fats Waller’s “Early to Bed” — she retired and wed Radio City Music Hall conductor Paul Lavalle. They were married for 50-plus years, until his death. … Jan Sterling, 82, played blond floozies with brains in “Caged,” “Ace in the Hole,” “The High and the Mighty” and “High School Confidential.” … Virginia Grey, 87, appeared in 100-plus movies, including 10 Ross Hunters; Patricia Clarkson did a Grey impersonation in “Far from Heaven.” She is not to be confused (as I used to do) with Virginia Gregg, a busy radio, TV and film actress who provided the voice of Mother Bates in Alfred Hitchcock’s “Psycho.” One legacy of “Psycho” is its anointing of Janet Leigh, 77, as the cinema’s prime slasher victim. The sharply seductive Leigh could have settled for being Tony Curtis’ wife (for 11 years) and Jamie Lee’s mother. But she was the whole package: intelligent, with terrific movie diction, at ease in comedy or melodrama, and what a body! Her muscular back, displayed after her dress is ripped off in “The Vikings,” was a primal priapic event to a certain impressionable teen in Avalon, N.J. Nor was I her only love slave. Hitchcock practically slobbered as he told François Truffaut that, for the first scene of “Psycho,” he had wanted to film Leigh topless, her nipples grazing John Gavin’s bare chest. Hitch, and I, appreciated another of Leigh’s gifts: she had a gaze as alert and sexy as any in movies. It bored into Frank Sinatra’s frazzled psyche in “The Manchurian Candidate” and mixed fear and fire as a kidnap caper captive in Orson Welles’ “Touch of Evil.” Even after she’d been killed in the “Psycho” shower (a model doubled her in some shots), Leigh’s unblinking eye held the viewer’s in that agonizingly long, slow back-tracking shot that was her farewell to the movie. Decades later, it still does. Mercedes McCambridge, 87, who in “Touch of Evil” is a killer bitch, hot to carve Leigh up, had done a lot of radio (Welles’ “Mercury Theatre on the Air,” ” I Love a Mystery”) before going to Hollywood, where she won a Supporting Actress Oscar for “All the King’s Men” and another nomination for “Giant.” She was niftily feral and butch as a female Joe McCarthy (if you believe some critics) in Nicholas Ray’s western, “Johnny Guitar.” She provided Linda Blair’s demonic voice in “The Exorcist” — which makes her the first Oscar-winning actress to speak the phrase, “Your mother sucks cocks in hell.” On stage, she replaced Uta Hagen (see below) in “Who’s Afraid of Virginia Woolf” and apparently dispensed with underwear. A college pal of mine, Frank Hargadon, had told me he had a front-row ticket for a hit Broadway play; when I next saw Frank, I asked him what he’d seen, and he replied, “Mercedes McCambridge’s twat.” McCambridge was married to radio and TV producer Fletcher Markle (“Studio One,” “Thriller”). According to IMDb, she “had one son, John Lawrence Fifield who later adopted the Markle surname. In 1987 he \[the son\] killed his wife, children and then himself.” CINEMA CINEMA CINEMA! The international film community bade farewell to Ingrid Thulin, 77, the severe, worldly Swedish actress who lent her grave glamour to eight Ingmar Bergman films. The cool blond projected a knowing pessimism in Bergman’s “Wild Strawberries” and “The Magician,” desperate longing in “Winter Light” and “The Silence,” and a mutilating self-hatred in “Cries and Whispers.” She also shone as a soulful socialist in Alain Resnais’s “La Guerre Est Finie” and as a Nazi-era matriarch in Luchino Visconti’s “The Damned.” Her fellow-countryman Keve Hjelm, brought a looming strength to “A Lesson in Love” (directed by Bergman) and “Best Intentions” (written by him), He was Thommy Berggren’s stern father in “Raven’s End,” and appeared in two films by women directors (when there weren’t so many): Mai Zetterling’s “Night Games” and Susan Sontag’s “Brother Carl.” Adieu to yeu: Nelly Borgeaud, 72, who graced Resnais’ “Muriel” and Truffaut’s “Mississippi Mermaid.” … Madeleine Robinson, 87, born Madeleine Svoboda, who took her nom d’ecrain from “Robinson Crusoe,” and had 50 years of prominent supporting roles, including in Claude Chabrol’s “Leda,” Welles’ “The Trial,” Robin Davis’ “I Married a Shadow” and Bruno Nuytten’s “Camille Claudel.” … Philippe Lemaire, 77, who was married to singer Juliette Greco (1953-56), ornamented films by Roger Vadim and Walerian Borowczyk and was excellent last year as a corrupt Cardinal in Jean-Paul Salomé’s swashbuckler “Arsène Lupin.” Didn’t hear the acclaim, since, the day after his birthday last March, he threw himself under a Paris Métro train. Addio, sayonara and vidaaya to: Nino Manfredi, 83, reliable star of Italian film comedy (“Bread and Chocolate”) … Laura Betti, 70, who brought her eccentric intensity to films by Federico Fellini (“La Dolce Vita”), Mario Bava (“Hatchet for the Honeymoon,” “Bay of Blood”), Miklós Jancsó (“Private Vice, Public Virtue”), Bernardo Bertolucci (“1900”), Borowczyk (she and Lemaire were in “Ars Amandi”), Catherine Breillat (“A ma soeur!” / “Fat Girl”) and most notably, Pier Paolo Pasolini, for whom she starred in seven films, serving as the poet-auteur’s muse and, after his death, keeper of the flame … Tomio Aoki, 80, whose career in Japanese cinema spanned more than seven decades, from 11 early films for Yasujiro Ozu to Seijun Suzuki’s “Pistol Opera” in 2001 … and Soundarya, 31, from the Indian state of Kannada. A medical student before entering films, she died in a plane taking her to a Bharatiya Janata Party campaign rally. Her brother Amarnath, a BJP official, died in the crash with her. The camera eye closed for these directors: Philippe de Broca, 71, who made five delectable, soufflé-light comedies starring Jean-Pierre Cassel, then six comedy-adventures with Jean-Paul Belmondo (“Cartouche,” “That Man from Rio,” “Chinese Adventures in China”) and the more ponderous anti-war fantasy “King of Hearts” with Alan Bates. … animation director René Laloux, 73, whose “La Planète Sauvage” (“Fantastic Planet”) was anime long before the Japanese “invented” the form … Alexander Hammid, 96, aka Alexander Hackenschmid, who co-directed two enormously influential short films: the avant-garde “Meshes of the Afternoon” with his then-wife Maya Deren, and the Oscar-winning documentary “To Be Alive!” with Francis Thompson (who died a year before Hammid), for the Johnson’s Wax Pavilion at 1964-65 New York World’s Fair. There’s a strong case for calling Vijay Anand, 70, the top Indian director of the 60s. Go to your nearest Little India video store and rent “Kaala Bazaar” (a moody black-market romance), the delightful “Tere Ghar Ke Samne,” the daring “interior epic” “Guide,” the light-toned, Hitchcocky “Teesri Manzil” and “Jewel Thief,” and the blockbuster “Johny Mera Naam” (“My Name Is Johnny”), all starring his older brother Dev Anand. Goldie, as Vijay was known, is famous for the brilliant picturization of the songs in his films. His nephew, Shekhar Kapur, makes movies in India (“Bandit Queen”) and the U.K. (“Elizabeth”). For a fuller introduction to Anand’s work, go to the splendid [Upperstall.com site.](http://www.upperstall.com/people/vijayanand,html) Farewell as well to: ace Italo cinematographer Carlo di Palma, 79, who shot two of the most influential of all color films, Michelangelo Antonioni’s “Red Desert” and “BLOWUP,” as well as Pietro Germi’s “Divorce Italian Style,” Bertolucci’s “Tragedy of a Ridiculous Man” and 12 for Woody Allen … Brit producer Michael Relph, 89, who could have retired with honor after shepherding that perfect comedy “Kind Hearts and Coronets” to the screen, but went on to produce 29 films, in 23 years, directed by Basil Dearden, including the pioneering “problem dramas” “Sapphire” and “Victim” … India’s Yash Johar, 74, who produced the megahits “Kuch Kuch Hota Hai” (which made Hrithik Roshan a star) and “Kabhi Khushi Kabhie Gham” (with Shakrukh Khan and Bollywood deity Amitabh Bachchan) … and Carole Eastman, 69, who danced in the Fred Astaire-Richard Avedon musical “Funny Face,” then turned screenwriter and, as Adrian Joyce, earned an Oscar nomination for “Five Easy Pieces.” Four of the six movies produced from Eastman scripts starred Jack Nicholson. Strangest Death prize goes to Theo Van Gogh, 47, great-grandson of Vincent’s Theo, a friend and supporter of assassinated Dutch politician Pim Fortuyn and a polemicist with a fatal gift for annoying his enemies, especially Muslim Moroccans, whom he referred to in columns as “geitenneukers” (goatfuckers). His 10-min. film “Submission,” aired on Dutch TV last August, comprised interviews with four women, purported victims of male Muslim abuse, whose bodies, naked under see-through dresses, bore verses of the Koran thought hostile to women. He also twitted Jews for obsessing over the Nazi holocaust and supported George Bush’s invasion of Iraq. On the morning of Nov. 2 (our Election Day), an attacker shot Van Gogh eight times, slit his throat, stabbed him in the chest and left two knives in his body, one pinning a five-page note that vilified the Dutch and the Jews. A Dutch-Moroccan man charged with Van Gogh’s murder awaits trial. And speaking of controversial political figures, did any movie producer ever notice that the perfect physiognomical presence for a bio-pic about Yasser Arafat, 75, would be Ringo Starr? MUSIC MUSIC MUSIC! Two giants, who broke out in the mid-50s and kept making superb music for a half-century, died last year. The passing of Ray Charles was no secret; he was laureled in print ([here’s a link to my piece](/time/arts/article/0,8599,650118,00.html)) and in the excellent film starring Jamie Foxx. I wish as much ink had been devoted to the work of Elmer Bernstein, 82, who created both jazzy and gentle scores for more than 200 Hollywood films, from “Sweet Smell of Success” to “Far from Heaven.” The impact of a film like “To Kill a Mockingbird” depends on Bernstein’s musical delicacy. And chances are that, when you think of “The Magnificent Seven” and “The Great Escape,” you’re humming Bernstein’s themes as you run the images and emotions in your head. It was his beautifully brassy score for the 1955 Otto Preminger film “The Man With the Golden Arm” that first taught me that movie scores could stand alone as powerful music. I must have spent a hundred hours listening to “Golden Arm” on the plastic 45 record player in my bedroom. (The soundtrack LP was also issued on three seven-inch discs.) I can still play, note for note, the album’s big-bandish “Delilah Jones,” with its swaggering, “Bolero”-style crescendo, and the plangent finale, with aural sunlight breaking like dawn over Chicago’s South Side. To me, back then, Leonard Bernstein was show music, and Elmer, on the same level, in an adjacent Pantheon, was movie music. (Even then I knew that Leonard was “stine” and Elmer was “steen.”) Carlo Rustichelli, 87, wasn’t as famous an Italian movie composer as Nino Rota or Ennio Morricone, was he was plenty more prolific. IMDb suggests he wrote 400 film scores. Even of the films itemized on the site, we count 51 scores in the 50s and, choke gasp, 127 scores in the 60s, including 21 in 1964\. What’s amazing is that lots of them, the ones I’ve heard, were terrific. Listen to his evocative scores for Mario Monicelli’s “The Organizer” and Pier Paolo Pasolini’s “The Gospel According to St. Matthew.” His work for Pietro Germi (“Divorce, Italian Style,” “Seduced and Abandoned” and 14 others) captures the mordant zaniness of Sicily; the music smiles through its own melodramatic flourishes. When I heard back in 1970 that Francis Ford Coppola was to make a movie of “The Godfather,” my first thought was that Rustichelli should write the music. Hong Kong polymath James Wong Jim, 64, kept busy. He played goofy lechers in movies (e.g., the “Stooges” series, with his brother Tommy Wong). He was a controversial comic (one site called him “like a Chinese Lenny Bruce, if you can imagine that simile) and the rude host of a TV talk show (“in the one with Brigitte Lin,” says the [website brns.com](http://www.brns.com), “he spent nearly the entire 30 minutes asking her about her eyebrows, cleft chin and breasts’). But Uncle Jim’s real career was as Hong Kong’s pre-eminent TV-theme and film-song lyricist — “the Father of modern Cantopop.” He wrote many hits for Roman Tam, Leslie Cheung and Anita Mui, and won five Hong Kong film awards. A memorial service, after his death from lung caner, was attended by 35,000\. Jan Berry, 63, of the duo Jan and Dean, had a string of early-60s smashes — car songs, mostly (“The Little Old Lady from Pasadena,” “Dead Man’s Curve”) — but the hits stopped comin’ when Berry was paralyzed in a car wreck. He recovered enough to tour with partner Dean Torrence in the 70s. … Doris Troy, 66, made the Top Ten with “Just One Look” in 1964\. In the 80s she starred in “Mama I Want to Sing,” a musical of her life (she played her mother), written by her sister and husband and co-starring her brother. My rave review of the show, calling it “the season’s joyfullest noise,” can be [found on this website’s TIME.com archive](/time/archive/preview/0,10987,956244,00.html). In the major leagues of pop, Troy was a one-hit wonder. So, sometimes, were composers. Movie composer David Raksin, 92, also had one huge, enduring hit: the theme from the Preminger mystery “Laura.” Only Rex Reed can and will cite another Raksin golden oldie. Bart Howard, 88, wrote one standard: “In Other Words,” whose title was changed to its first line, “Fly Me to the Moon,” when Mercury astronauts adopted it as their theme song. But who can name, or sing, a second Howard song? (Anyone? Anyone? Rex?) His steady job in the 50s was as musical director at the classy Manhattan cabaret the Blue Angel. IMDb offers another piquant bio-fact: “left home at 16 to tour the U.S. as a dance-band pianist with the conjoined twins Daisy and Violet Hilton.” A soulful “Taps” to: Laura Branigan, 47, backup singer for Leonard Cohen who had a winner with the Americanized Italian song “Gloria” (“I think I got your num-ba / I think I got the alias / That you’ve been livin’ un-da”); dead, way too young, of an aneurism … country thrush Skeeter Davis, 72, who as half of the Davis sisters had the country hit “I Forgot More Than You’ll Ever Know” after her partner Betty Jack Davis was killed in a car crash that severely injured Skeeter, who recovered to have, a decade later, the country-pop smash “The End of the World” … and Johnny Ramone, 55, of prostate cancer. He joins bandmates Joey and Dee Dee Ramone in heaven. As the Onion headline had it: “Ramones Reunion Nearly Complete”. There’ll be no more snappy tunes, alas, from: B’way composers Fred Ebb, 78 (“Cabaret,” “Chicago,” “New York, New York”), and Cy Coleman, 75, who wrote pop hits like “Witchcraft” for Sinatra and “The Best Is Yet to Come” for Tony Bennett before 11 sophisticated, jazz-influenced scores for shows (“Wildcat,” “Sweet Charity,” “City of Angels,” “The Life”). … Fred Karlin, 67, who wrote the music for two pop hits from movies: the Oscar-winning “For All We Know” (from “Lovers and Other Strangers”) and the Oscar-nominated “Come Saturday Morning” (“The Sterile Cuckoo”). … Joe Bushkin, 87, who wrote “Oh! Look at Me Now,” an early Sinatra hit, and the WWII rouser “There’ll Be a Hot Time in the Town of Berlin (When the Yanks Go Marching In),” introduced by Sinatra, covered by Bing Crosby and the Andrews Sisters. TV AND DINNERS [In these web pages a year ago](/time/columnist/corliss/article/0,9565,585397,00.html), I elegized Jack Paar, 85, the neurotic, innovative host of “The Tonight Show” host, who was to the current crop of late-night emcees what Brando was to Adam Sandler. But some of those connected with Paar also died. Genevieve, 83, for instance, a frequent Paar guest who was to France what Zsa Zsa Gabor was to Hungary: an apotheosis and a parody, a kind of show biz eau de Europe. Paul Keyes, 79, wrote and produced TV shows for Paar, Dean Martin and Frank Sinatra, but he’s best known for “Laugh-In,” the late 60s vaudeville skein that introduced Goldie Hawn, Lily Tomlin and Alan Sues to prime-time. It was Keyes who persuaded his pal Richard Nixon, then on his second run for the White House, to intone “Sock it to me!” on “Laugh-In.” Keyes watched the 1968 election returns and said he was the first man to address Nixon as Mr. President (aside from Nixon, in his mirror, many times). Two TV voices were stilled: Danny Dark, 79, the NBC announcer who lent his cheerful basso to Starkist Tuna commercials (“Sorry, Charlie!”), and Gene Wood, 78, announcer for many a Goodson-Todman game show (whisper along with me: “The password is…”). In the beyond, Wood can warm up the audience for the mellow, almost-too-handsome Art James, 74, host of “The Who, What or Where Game.” Old-movie fans who watched AMC, back when that channel really did air American movie classics (and without commercials), remember Gene Klavan, 79, as one of the genial hosts. (Bob Dorian and George Clooney’s father Nick were the others.) Decades before, Klavan anchored one of New York radio’s two morning comedy teams. Bob and Ray were on WOR, Klavan and Dee Finch on WNEW. In 1952, Klavan had succeeded Gene Rayburn, as Finch had followed Jack Lescoulie; both Rayburn and Lescoulie became TV announcer-hosts; Klavan stayed on the radio, and on NEW, for 30 years. A familiar voice in radio drama (“Boston Blackie,” “That Hammer Guy”), Jan Miner, 86, was probably not thrilled to be elegized for her 27-year run as Madge, the Palmolive manicurist (“You’re soaking in it”). In her legit life she co-starred in Tennessee Williams’ “The Milk Train Doesn’t Stop Here Anymore” on Broadway and as Lenny Bruce’s mother Sally Marr in Bob Fosse’s film “Lenny.” … Isabel Sanford, 86, was Weezy, the heart medicine that tried to keep Sherman Hemsley’s George Jefferson from exploding. … The most visible woman in 50s TV was never seen. June Taylor, 86, put chorines in Busby Berkeley-like geometric patterns, photographed by a camera in the flies, on shows hosted by her brother-in-law, Jackie Gleason. The June Taylor Dancers were, for a decade or so, the nation’s Rockettes. A couple generations of kids had an expert morning babysitter in Bob Keeshan, 76, aka “Captain Kangaroo.” Their self-improving parents cooked along with PBS’ French chef, Julia Child, who trilled like a Frank Oz Muppet while attempting to rescue another souflee from collapsing. She elevated Americans’ culinary sophistication, though, as did restaurant critic Seymour Britchky, 73, who wielded words with a sushi chef’s acuity and vigor. One of the superb prose stylists, his reviews can be read with pleasure and envy by folks who would never set foot in a New York eatery. My [tribute to Britchky appears here.](/time/columnist/corliss/article/0,9565,674689,00.html) PAIRS United forever: Archibald Cox, 92, the Nixon Attorney General who resigned, in the “Saturday Night Massacre,” when forbidden to pursue allegations of chicanery in the Watergate scandal, and Sam Dash, 79, Democratic counsel to the Senate’s Watergate Committee, both died on May 29\. … Robert Lawrence, 90, a film editor who cut “Spartacus,” “El Cid” and several films directed by Irvin Kershner, died four days in September before Robert Lawrence, a TV cartoon producer (‘Casper,” “Spiderman”). … Artie Shaw, 94, who made Cole Porter’s “Begin the Beguine” a worldwide hit three years after it was written, died last year, as did his ex-wife, actress Doris Dowling, 81\. She was Ray Milland’s favorite barfly in “The Lost Weekend,” and Bianca in Welles’ “Othello.” The year before Ingrid Bergman went to Italy to be in “Stromboli,” Dowling was there for “Bitter Rice.” Dowling was Shaw’s seventh (of eight) wives; he was her first (of three) husbands. An Olympic pair. Eleanor Holm, 90, won a gold medal (backstroke) in the L.A. games of 1932\. She was to compete in the 1936 Berlin Olympics but was thrown off the team for her misbehavior, whatever that might have been, on the boat trip to Europe. Hollywood was happy to have her: she played the female lead in the 1938 “Tarzan’s Revenge,” opposite Glenn Morris. Holm was married to Broadway producer Billy Rose for 15 years. … Three days before Holm died, the clock ran out on Elroy “Crazylegs” Hirsch, 80, a star halfback and offensive and defensive end for the Universities of Wisconsin and Michigan, and then a standout for the L.A. Rams (1949-57). While playing for the Rams, Hirsch also starred in his own biopic, “Crazylegs,” from B-minus director Francis D. Lyon (who the following year would direct “The Bob Mathias Story,” starring the two-time Gold-medal Olympic decathlete). Hirsch also toplined in the drama “Unchained,” whose theme, by Alex North, was a top 10 hit for Al Hibbler in 1954 and the Righteous Brothers in 1965 and 1990 (when it was used again in “Ghost”). In a few weeks, when I get around to a column on Cole Porter and “De-lovely,” I’ll surely be limning, and humming, the songs Porter wrote for “Kiss Me, Kate.” Two stars of the 1953 movie version died last year: Howard Keel, 85, MGM’s handsomest, manliest baritone, who lent his roguish machismo to “Annie Get Your Gun,” the 1951 “Show Boat,” “Kismet” and “Seven Brides for Seven Brothers” … and Ann Miller, 80, who played a chorine in the film “Stage Door” at 14, tangled with the Marx Brothers in “Room Service” at 15 and lent her showbiz oomph to such top MGM musicals as “Easter Parade” and “On the Town.” The divoon Miss M toured for years with Mickey Rooney in “Sugar Babies” and, a few years back, graced David Lynch’s gloriously kinky “Mulholland Dr.” Ta-ta and toodle-oo to pairs of scribes whose work has already outlived them: playwrights Jerome Lawrence, 88, whose 50s collaborations with Robert E. Lee, “Auntie Mame” and “Inherit the Wind,” are in many an amateur repertory and alterkocker’s memory, and Jerome Chodorov, 93, whose play “My Sister Eileen” was adapted into the musical “Wonderful Town”, still on Broadway with Brooke Shields … also novelists Françoise Sagan, 69, who wrote “Bonjour Tristesse” in 1953, when she was 18, and saw it and a second novel, “A Certain Smile,” both turned into Hollywood-backed films in 1958, and Hubert Selby, Jr., 75, whose transgressive tomes “Last Exit to Brooklyn” (1964) and “Requiem for a Dream” (1978) had to wait decades before they were filmed. Movie director pairs: documentarists Charlotte Zwerin, 72 (studies of Capote, De Kooning, Horowitz, Monk and Ella, as well as the Rolling Stones Altamont doc “Gimme Shelter”) and Jean Rouch, 86 (the seminal “Chronicle of a Summer” and 100 more). … Some directors can do anything; others will do anything, no matter how outré or déclassé. In the 60s, Larry Buchanan, 81, made very bad horror movies; his “Attack of the the Eye Creatures,” whose unproofread title is the first testament to its ineptness, surfaced on “Mystery Science Theater 3000.” Later, Buchanan (who seemed eerily ordinary in his Psychotronic Video interview), turned to religious films. His melancholy-twilight opus, “The Copper Scroll of Mary Magdalene,” was completed just before his death. Irvin S. Yeaworth, Jr., 78, directed “The Blob,” “4D Man” and “Dinosaurus,” then, like Buchanan, got religion and made many Christian films. An ordained Methodist minister, Yeaworth died in Amman, Jordan, where he was building a theme park. What the theme was, I can’t say. Two generations of sex films are represented by Russ Meyer, 82, the sexploitation auteur whom [I discussed](/time/sampler/article/0,8599,331978,00.htm) in [earlier columns](/time/columnist/corliss/article/0,9565,333787,00.html), and Geoffrey Karen Dior, 37, dead of AIDS after a rowdy career as a gay porno star, director and gossipist. The website of this transvestite tootsie itemizes “his print and runway modeling; live solo performances and membership in the bands The Johnny Depp Clones and Goddess; and his encounters with stars (Drew Barrymore, Gerardo, kd lang, Janet Leigh, John Candy, Madonna, Hugh Hefner, David Faustino, and more).” Dior’s memoir “Sleeping Under the Stars” (“I hope you enjoy reading it as much as I enjoyed living it!”) cued one reviewer to proclaim it “about the closest thing you’ll ever come to reading a porn movie…. His version of falling in love is a second fuck.” And they say romance is dead. BRUSHES WITH GREATNESS In my job as a TIME movie critic and features writer, I am insulated from celebrity encounters by what’s left of the TIME writer-reporter system. A correspondent interviews the actor or director and files a report, then I write it into a story. The result is that I haven’t met many of the people I’ve written about, including cover subjects. But chance has thrown me together with a few eminences who died last year and left me with personal reminscences I’d like briefly to share. A last, deep bow to two grand ladies: Phyllis Adams, 79, the actress, journalist, TV producer, Amnesty International fund-raiser and all-round blithe spirit whom I memorialized in a column last summer; and Frances Dee, 94, the University of Chicago grad who became a 30s star playing good girls in movies that, unfortunately for this lustrous brunette, rewarded spunk or sadness. In “An American Tragedy” she had the Elizabeth Taylor role, while Sylvia Sidney got the showier victim part. She was out-emoted by Bette Davis in “Of Human Bondage” and Miriam Hopkins in “Becky Sharp,” and was Meg to Katharine Hepburn’s Jo (no contest there) in the George Cukor “Little Women.” Her favorite role of the decade: William Wyler’s “The Gay Deception” with Francis Lederer. She’s best remembered for a 40s B picture, “I Walked With a Zombie” (a Jamaican “Jane Eyre” that still has a spooky sheen). She made four films — “One Man’s Journey,” “The Silver Cord,” “Wells Fargo” and “Four Faces West” — with her husband Joel McCrea, who died on their 57th wedding anniversary. Frances, who came out of retirement to test for the “Titanic” role that got Gloria Stuart an Oscar nomination, occasionally flew to New York to see her son Peter, a friend of my wife Mary. Ages after she had retired to raise a family on the McCrea ranch, Frances was beautiful, gracious and warm, an enduring symbol of American elegance. Sunday night, at the Golden Globe fest, Robin Williams dedicated his Life Achievement award to a long-ago Juilliard classmate, Christopher Reeve, 52\. I was reminded of a dinner party at the Plaza Hotel, in 1993, toasting the success of the Merchant-Ivory film “Howards End.” Toward the end of the bash, a familiar and towering figure approached Mary and me. Stars don’t usually initiate conversations with middle-rung movie critics and their enchanting spouses, but here was Reeve, happy to chat about my work and his. He had appeared in Merchant-Ivory’s “The Bostonians” and “The Remains of the Day,” and said he hoped to play Thomas Jefferson in a film the producer-director team was planning. I had the sense of a restless star, no longer Superman, not yet sure of his career’s next step. Well, Nick Nolte got the part, and 10 days after “Jefferson in Paris” opened in Paris, Reeve had the horrid riding accident that gave his life a more limited and profound second act. The most famed of a half-dozen superior photographers who died last year, Richard Avedon, 81, succumbed Oct. 1, while on a New Yorker assignment to take photographs of the 2004 electorate. Nearly 30 years to the day earlier, he spent a Saturday evening at a dinner for “Lacombe Lucien,” the Louis Malle film being shown at the New York Film Festival, whose selection committee I served on. Mary was seated at Avedon’s table, and they soon fell into intimacy, reflecting that they both played tenor saxophone in high school. As the guests began to head across the street for the Alice Tully Hall screening, I realized that Mary had disappeared. She was skipping through the rain with her new friend, and said later he made her feel like Audrey Hepburn in “Funny Face.” We never saw Avedon again, and there’s no photographic record of Mary’s evening with this lovely man, but she still feels its glamorizing glow. What Betty Grable was to World War II G.I.s, Susan Sontag, 71, was to young would-be intellectuals of the 60s and beyond: a pin-up icon to fire our headiest dreams. Essayist, novelist, critic, polemicist, director for film and theater, Susan carried herself, and wrote, with an incandescent star quality that, when we served together on the Film Festival committee, threatened to diminish the aura of the movies we were supposed to be watching. She must have had it from youth. Richard Roud, who ran the Festival for its first 25 years, told the story of a girl, Susan Rosenblatt, whose mother had divorced her father when Susan was 5, then married again. You can keep your father’s name, the girl was told, or take the name of your new stepfather: Sontag. Richard said he thought of his friend imagining her name in lights: Susan Sontag! Classy, alliterative, a name fit for a star. I’ll take it! Susan knew a good thing when she heard it. In the early 60s, her pal, later ours, Elliott Stein, told her about an aesthetic tendency, then percolating in the hip homosexual community, called camp. Susan developed the idea into her essay “Notes on Camp.” Just before it was published, she was on a plane with the estimable film critic Andrew Sarris, and told Andy, “I’ve just written something that’s going to put me over.” It did, and Susan was on the escalator to intellectual celebrity. She never got off. Susan’s grand promenade crossed my backwoods footpath in 1969, when her book “Styles of Radical Will” came out. Two years before, she had written a critique of Bergman’s”Persona” for Sight & Sound; I had written one for Film Quarterly (my first published work in a serious movie journal). In a footnote to the “Persona” reprint in “Radical Will,” she took issue with something in my review. My reaction: joy, rapture! I had been attacked in a Susan Sontag footnote! I must be…somebody. In those years when we served together on the selection committee, Susan was always a good sport. She debated the merits or debits of each film informally, without hauteur, and passed out copies of “Illness as Metaphor,” the book she wrote after her first bout with breast cancer (which she faced with typical ingenuity and bravado). A couple of decades later, when Mary and her colleagues in the Museum of Modern Art staff association were obliged to go on strike, Susan offered Mary a most valuable gift: her book of telephone numbers of literary and film notables who might be contacted to sign a petition supporting the strike. It was one good cause — not the first or the last — that Susan was eager to fight for. She kept fighting, through more sieges of the cancer she had harbored for more than half her life, until the mutant, metastasizing bastard finally took her in the last days of 2004\. Writing about the dear departed rekindles awe in me, at the legacy of those who have gone, and sometimes anger, that they had to go too soon. These are familiar feelings for a column that dives into, or dawdles in, the past. But when I assemble these tributes to the dear departed or the 100-birthday club, I also wonder what people, recently born, will come to celebrity or notoriety in the future. April 3, 1924, for example, was an ordinary day, except for two coincidental births: Brando and Doris Day. At this moment, the shapers of our world and our children’s are popping out of wombs. So… what were the significant births of 2004? For the answer to that question, we’ll have to wait 30 or 50 years, or maybe 100\. See you then. QUIZ ANSWERS 1\. Peter Ustinov, 82, was the polymirth playwright, film director, novelist, LP auteur (for which he provided all the voices and music and sound effects), raconteur and actor, renowned as Agatha Christie’s Hercule Poirot in six movies and TV films. In a 1999 interview with Ed Grant, the diabetes-depleted but still garrulous Ustinov explained the mixture in him of crusader and cutup: “I’m a profoundly serious man \[did he realize how silly that sounds?\], but usually my seriousness takes the form of making people laugh.” That he did, as well as investing with a magnificent, self-kidding pomp. He won his first of two Supporting Actor Oscars for “Spartacus,” in 1961\. His great-grandmother was a princess of Ethiopia; thus Ustinov was 1/8th black and, by pre-Civil War standards, black. (We did say “arguably.”) 2\. Actress Uta Hagen, 84, German-born, Wisconsin-raised, made her Broadway debut in 1938 as Nina in a Lunt-Fontanne revival of “The Seagull.” In 1943 she played Desdemona to the Othello of Paul Robeson and the Iago of Jose Ferrer (her first husband). Hagen, a legendary acting teacher at the school run by Herbert Berghof (her second husband), counted among her pupils Robert De Niro, Jason Robards, Sigourney Weaver, Whoopi Goldberg, Liza Minnelli and Al Pacino. Her own movie career was furtive — “The Other,” “The Boys from Brazil” and “Reversal of Fortune” about did it — but her indirect influence on movies was huge. She originated the roles of Georgie in “The Country Girl” (Grace Kelly won the Oscar) and Martha in “Who’s Afraid of Virginia Woolf” (Elizabeth Taylor), and followed Jessica Tandy as Blanche in “A Streetcar Named Desire” (Vivien Leigh). 3\. Barney Kessel, 80\. was equally vitruosic as a jazz and pop guitarist. Seminal sessions with Billie Holiday, Oscar Peterson and Charlie Parker didn’t pay the rent, so he became a top studio man for Elvis Presley, the Beach Boys and Fred Astaire. 4\. Terry Melcher, 62, was born to Doris Day when she was 17, and produced Top 40 hits for the Byrds, the Rip Chords and Paul Revere and the Raiders at Columbia Records. (He also played guitar on the Beach Boys’ “Pet Sounds” LP.) Manson tried to get a recording contract with Melcher, whose rejection miffed the would-be rock star. On Aug. 9, 1969, Manson and his followers broke into Melcher’s home — not knowing Terry and girlfriend Candice Bergen had moved out months before — and killed the five people in it, including Roman Polanski’s pregnant wife, actress Sharon Tate. 5\. English playwright Peter Barnes, 73, had his most piquant stage success with “The Ruling Class,” the film version of which starred Peter O’Toole. Barnes also wrote “Auschwitz,” a black comedy on the Nazi holocaust, and a monograph on another Third Reich comedy, Ernst Lubitsch’s “To Be or Not to Be.” Three years before his death, he fathered triplets, the occasion for his teleplay “Babies.” It aired on Granada TV just before his death. 6\. Indian actress Nirupa Roy, 73, born Kokila Kishorechandra Balsara, established her maternal bona fides as the strong, saintly wife and mum in the 1953 neo-realist classic “Do Bigha Zameen.” In the 1955 “Minimjee” she played the mother of Dev Anand, who was eight years her senior, and, many times, Amitabh’s mom. According to IMDb her U.S.-born daughter did indeed file a police complaint alleging harassment and mental cruelty. (India’s other reigning earth-mother figure, Leela Chitnis, who died in 2003, was reportedly abandoned by her own daughter and placed in a U.S. nursing home.) 7\. Bernard Levin, 75, columnist for the Times of London and other Brit broadsides, expressed chagrin that chagrined that his record sentence (1,667 words) didn’t last: “Then some bugger in India wrote a sentence very considerably longer.” This famously waspish (and Jewish) journalist was known on our side of the pond for his appearances on the U.S. TV version of the 60s satirical news show “That Was the Week That Was.” He was also an acerbic theater critic. From the Daily Telegraph obit: “A brutal review of a musical led its author, Wolf Mankowitz, to bring six showgirls carrying a coffin to the Express offices; and one evening, on a live television broadcast, Desmond Leslie stepped out of the audience and struck Levin in retaliation for his review of a show by Leslie’s wife, Agnes Bernelle. Levin carried on as if unaffected, though he paused once to rub his nose.” He survived a tempestuous affair with Arianna Stassinopoulos (later Huffington). His later life-partner, Liz Anderson, nursed him through a decade of Alzheimer’s that ended with his death. 8\. Alistair Cooke, 95, began his BBC weekly chat “Letter from America” on March 31, 1946 and continued it until February 20, 2004, barely a month before his death. You’ll find [my tribute to Cooke here.](/time/columnist/corliss/article/0,9565,606171,00.html) 9\. Spalding Gray, 62, single-mindedly kept the art of one-way conversation alive in a series of feature-length monologues (which began off-Broadway, then were filmed by the likes of Jonathan Demme and Steven Soderbergh). He performed in the 1976 porno film, “Little Orphan Dusty,” aka “Jaws of Delight,” starring John C. Holmes. “I did it out of curiosity and fantasy that it would be fun,” he later said. “It was awful. It was the hardest, in quotes hardest, and most difficult work I’ve ever done. Wouldn’t recommend it. But no regrets.” His mother, a suicide, inspired part of the monologue “Monster in the Box.” Gray’s body was found in the East River last March, two months after he was reported missing. 10\. Eddie Layton, 79, is the answer to a favorite New York sports trivia question. He played the organ — “Da-da-da-DA, da-DA!” — at Yankee Stadium and Madison Square Garden (Knicks and Rangers). ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/archive/6907677/the-long-goodbye-ii/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/archive/6907677/the-long-goodbye-ii/"},"headline":"The Long Goodbye II","datePublished":"2005-01-19T05:00:00.000Z","dateModified":"2026-03-22T15:05:36.847Z","description":"Among those who died in 2004, who... 1. Was arguably the first black man to win an Oscar for acting? 2. 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